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SHERWOOD 


SHERWOOD 


OR 


ROBIN  HOOD   AND  THE  THREE  KINGS    / 
A  Play  in  Five  Acts 

BY 

ALFRED  NOYES 


SCHOOL  AND   ACTING  EDITION 
WITH  DIRECTIONS  FOR  PRODUCTION 

BY 

J.  MILNOR  DOREY,  A.M. 

Director  of  English,  The  Scarborough  School, 
Scarborough,  New  York 


NEW  YORK 

FREDERICK  A.  STOKES  COMPANY 

PUBLISHERS 


Copyright,  1911,  1921,  by 
FaEDERiCK  A.  Stokes  Company 


All   rights    reserved,    including    rights    of   production   and 

adaptation.     The  dramatic  rights  are  controlled  by  the 

author.     Application  for   the    right   of  production, 

whether    amateur    or    professional,    should    be 

made   to   the  Paget  Literary  Agency,  500 

Fifth  Avenue,  New   York   City. 


FEINTED  IN  THE  UNITED  STATES  OF  AMERICA 


PERSONS  OF  THE  DRAMA 


Outlaws    and    followers 
"Eobin  Hood." 


of 


EoBiN Earl  of  Huntingdon,  known 

as  "  Eobin  Hood." 
Little  John     .... 
Friar  Tuck       .... 
Will  Scarlet   .... 
Eeynold  Greenleaf    . 
Much,  the  Miller's  Son 
Alan-a-DxV-Le     .... 
Prince  John. 
King    Eichard,    Coeur    de 
Lion. 

Blondel King  Eichard's  minstrel. 

Oberon King  of  the  Fairies. 

Titania Queen  of  the  Fairies. 

Puck A  Fairy, 

The  Sheriff  of  Notting- 


ham. 
Fitzwalter 


Father  of  Marian,  known  as 

"  Maid  Marian." 
A  Fool. 

Nephew  to  Prince  John,  a 
boy  of  about  ten  years  of 
age. 
Mother  of  Prince  John  and 

Eichard  Lion-Heart. 
Known  as  Maid  Marian,  be- 
trothed to  Eobin  Hood. 

Jenny Maid  to  Marian. 

Widow  Scarlet      .     .     .      Mother  of  Will  Scarlet. 
Prioress  of  Kirklee. 

Fairies,  merry  men,  serfs,  peasants,  mercenaries,  an 
abbot,  a  baron,  a  novice,  nuns,  courtiers,  soldiers, 
retainers,  etc. 


Shadow-of-a-Leaf 
Arthur  Plantagenet 


Queen  Elinor  . 
Marian  Fitzwalter 


ACT  I 


SHERWOOD 


ACT  I 

Scene  I.  NigJit.  The  borders  of  the  forest.  \The 
smouldering  embers  of  a  Saxon  homestead."^  The 
Sheriff  and  his  men  are  struggling  with  a  Serf. 

SERF 

No,  no,  not  that!  not  that!     If  you  should  blind  me 
God  will  repay  you.     Kill  me  out  of  hand ! 

[Enter  Prince  John  and  several  of  his  retainers.'] 

JOHN 

Who  is  this  night-jar  ? 

[The  retainers  laugh.] 

Surely,  master  Sheriff, 
You  should  have  cut  its  tongue  out,  first.     [Its  cries 
Tingle  so  hideously  across  the  wood 
They'll  wake  the  King  in  Palestine.J     Small  wonder 
That  Eobin  Hood  evades  you. 

SHERIFF 

[To  the  Serf] 

Silence,  dog, 
Know  you  not  better  than  to  make  this  clamour 
Before  Prince  John? 

serf 

Prince  John !     It  is  Prince  John ! 
For  God's  love  save  me,  sir! 

JOHN 

WHiose  thrall  is  he  ? 

Note  —  Passages  to  be  omitted  in  acting  are  indicated  by  heavy 
brackets. 

3 


4  SHERWOOD 

SHERIFF 

I  know  not,  sir,  but  he  was  caught  red-handed 
Killing  the  king's  deer.     By  the  forest  law 
He  should  of  rights  be  blinded;  for,  as  you  see, 
[He  indicates  the  Serf's  right  hand.'] 
'Tis  not  his  first  deer  at  King  Eichard's  cost. 

JOHN 

'Twill  save  you  trouble  if  you  say  at  mine. 

[sheriff 

Ay,  sir,  I  pray  your  pardon  —  at  your  cost ! 

His  right  hand  lacks  the  thumb  and  arrow-finger. 

And  though  he  vows  it  was  a  falling  tree 

That  crushed  them,  you  may  trust  your  Sheriff,  sir, 

It  was  the  law  that  clipped  them  when  he  last 

Hunted  your  deer.] 

SERF 

Prince,  when  the  Conqueror  came, 
They  burned  my  father's  homestead  with  the  rest 
To  make  the  King  a  broader  hunting-ground. 
I  have  hunted  there  for  food.     How  could  I  bear 
To  hear  my  hungry  children  crying?     Prince, 
They'll  make  good  bowmen  for  your  wars,  one  day. 

JOHN 

He  is  much  too  fond  of  "  Prince  " :  he'll  never  live 
To  see  a  king.     Whose  thrall  ?  —  his  iron  collar. 
Look,  is  the  name  not  on  it? 

SHERIFF 

Sir,  the  name 
Is  filed  away,  and  in  another  hour 
The  ring  would  have  been  broken.     He  is  one  of  those 
Green  adders  of  the  moon,  night-creeping  thieves 
Whom  Huntingdon  has  tempted  to  the  woods. 


SHERWOOD 

[These  desperate  ruffians  flee  their  lawful  masters 
And  flock  around  the  disaffected  Earl 
Like  ragged  rooks  around  an  elm,  by  scores ! 
And  now,  i'  faith,  the  sun  of  Huntingdon 
Is  setting  fast.     They've  well  nigh  beggared  him. 
Eaten  him  out  of  house  and  home.     They  say 
That,  when  we  make  him  outlaw,  we  shall  find 
Nought  to  distrain  upon,  but  empty  cupboards.J 

JOHN 

Did  you  not  serve  him  once  yourself? 

SHERIFF 

Oh,  ay. 
He  was  more  prosperous  then.     But  now  my  cupboards 
Are  full,  and  his  are  bare.     [Well,  I'd  think  scorn 
To  share  a  crust  with  outcast  churls  and  thieves, 
Dofl&ng  his  dignity,  letting  them  call  him 
Eobin,  or  Eobin  Hood,  as  if  an  Earl 
Were  just  a  plain  man,  which  he  will  be  soon, 
When  we  have  served  our  writ  of  outlawry!] 
'Tis  said  he  hopes  much  from  the  King's  return 
And  swears  by  Lion-Heart;  and  though  King  Eichard 
Is  brother  to  yourself,  'tis  all  the  more 
Ungracious,  sir,  to  hope  he  should  return. 
And  overset  your  rule.     [But  then  —  to  keep 
Such  base  communications !     Myself  would  think  it 
Unworthy  of  my  sheriffship,  much  more 
Unworthy  a  right  Earl.] 

JOHN 

[You  talk  too  much! 
This  whippet,  here,  slinks  at  his  heel,  you  say. 
Mercy  may  close  her  eyes,  then.]     Take  him  off. 
Blind  him  or  what  you  will;  and  let  him  thank 
His  master  for  it.     But  wait  —  perhaps  he  knows 


6  SHERWOOD 

Where  we  may  trap  this  young  patrician  thief. 
Where  is  your  master? 

SERF 

Where  you'll  never  find  him. 

JOHN 

Oh,  ho !  the  dog  is  faithful !  Take  him  away. 
Get  your  red  business  done.  I  shall  require 
Your  men  to  ride  with  me. 

SHERIFF 

[To  Ms  men.'] 

Take  him  out  yonder, 
A  bow-shot  into  the  wood,  so  that  his  clamour 
Do  not  offend  my  lord.     Delay  no  time. 
The  irons  are  hot  by  this.     They'll  give  you  light 
Enough  to  blind  him  by. 

SERF 

{^Crying  out  and  struggling  as  he  is  forced  back  into  the 
forest.'] 

ISTo,  no,  not  that ! 
God  will  repay  you !     Kill  me  out  of  hand ! 

SHERIFF 

[To  Prince  John.] 

[There  is  a  kind  of  justice  in  all  this. 
The  irons  being  heated  in  that  fire,  my  lord, 
Which  was  his  hut,  aforetime. 

[Some  of  the  men  take  the  glowing  irons  from  the  fire  and 
follow  into  the  wood.'J 

There's  no  need 
To  parley  with  him,  either.     The  snares  are  laid 
For  Robin  Hood.     He  goes  this  very  night 
To  his  betrothal  feast. 


SHERWOOD 

JOHN 

Betrothal  feast! 

SHERIFF 

At  old  Fitzwalter's  castle,  sir. 

JOHN 

That's  good ! 
There  will  be  one  more  guest  there  than  he  thought! 
Ourselves  are  riding  thither.     We  intended 
My  Lady  Marian  for  a  happier  fate 
Than  bride  to  Kobin  Hood.    Your  plans  are  laid 
To  capture  him  ? 

SHEKIFF 

[^Consequentially.^ 

It  was  our  purpose,  sir. 
To  serve  the  writ  of  outlawry  upon  him 
And  capture  him  as  he  came  forth. 

JOHN 

That's  well. 
Then  —  let  him  disappear — -you  understand? 

SHEKIFF 

I  have  your  warrant,  sir?    Death?    A  great  Earl? 

JOHN 

Why,  first  declare  him  outlawed  at  his  feast! 
'Twill  gladden  the  tremulous  heart  of  old  Fitzwalter 
With  his  prospective  son-in-law;  and  then  — 
No  man  will  overmuch  concern  himself 
Whither  an  outlaw  goes.     You  understand? 

SHERIFF 

It  shall  be  done,  sir. 


8  SHERWOOD 

JOHN 

But  the  Lady  Marian ! 
By  heaven,  I'll  take  her.     I'll  banish  old  Fitzwalter 
If  he  prevent  my  will  in  this.     You'll  bring 
How  many  men  to  ring  the  castle  round? 

SHERIFF 

A  good  five  score  of  bowmen. 

JOHN 

Then  I'll  take  her 

This  very  night  as  hostage  for  Fitzwalter, 
Since  he  consorts  with  outlaws.     These  grey  rats 
Will  gnaw  my  kingdom's  heart  out.     For  'tis  mine, 
This  England,  now  or  later.     They  that  hold 
By  Richard,  as  their  absent  king,  would  make 
My  rule  a  usurpation.     God,  am  I 
My  brother's  keeper? 

[There  is  a  cry  in  the  forest  from  the  Serf,  who  imme- 
diately afterwards  appears  at  the  edge  of  the  glade, 
shaking  himself  free  from  his  guards.  He  seizes 
a  weapon  and  rushes  at  Prince  John.  One  of  the 
retainers  runs  him  through  and  he  falls  at  the 
Prince's  feef] 

JOHN 

That's  a  happy  answer ! 

SHERIFF 

[Stooping  over  the  body.'] 
He  is  dead. 

JOHN 

I  am  sorry.     It  were  better  sport 
To  send  him  groping  like  a  hoodman  blind 
Through  Sherwood,  whimpering  for  his  Eobin.     Come, 


SHERWOOD  9 

I'll  ride  with  you  to  this  betrothal  feast. 

ISTow  for  my  Lady  Marian ! 

[Exeunt   all.     A    pause.     The    scene    darkens.     Shadowy 

figures  creep  out  from   the  thickets,  of  old  men, 

women  and  children.'] 

FIRST   OLD  MAN 

{Stretching  his  arms  up  to  Heaven.'] 

God,  am  I 
My  brother's  keeper?     Witness,  God  in  heaven. 
He  said  it  and  not  we  —  Cain's  word,  he  said  it ! 

FIRST  WOMAN 

[Kneeling  by  the  body.] 

0  Father,  Father,  and  the  blood  of  Abel 
Cries  to  thee ! 

A  BLIND  MAN 

[Is  there  any  light  here  still? 

1  feel  a  hot  breath  on  my  face.     The  dark 
Is  better  for  us  all.J     I  am  sometimes  glad 
They  blinded  me  those  many  years  ago. 
Princes  are  princes;  and  God  made  the  world 
For  one  or  two  it  seems.     Well,  I  am  glad 

I  cannot  see  His  world. 

FIRST  WOMAN 

[Still  iy  the  body  and  whispering  to  the  others.] 

Keep  him  away. 
'Tis  as  we  thought.     The  dead  man  is  his  son. 
Keep  him  away,  poor  soul.     He  need  not  know. 
[Some  of  the  men  carry  the  body  among  the  thickets.] 

A   CHILD 

[Mother,]  I'm  hungry,  I'm  hungry! 


10  SHERWOOD 

[first  old  man 

There's  no  food 
For  any  of  us  to-night.     The  snares  are  empty, 
And  I  can  try  no  more.] 

A  BLIND  MAN 

Wait  till  my  son 
Comes  back.     He's  a  rare  hunter  is  my  boy. 
You  need  not  fret,  [poor  little  one.]     My  son 
Is  much  too  quick  and  clever  for  the  Sheriff. 
He'll  bring  you  something  good.     [Why,  ha!  ha!  ha! 
Friends,  I've  a  thought  —  the  Sheriff's  lit  the  fire 
Eeady  for  us  to  roast  our  meat.     Come,  come, 
Let  us  be  merry  while  we  may !     My  boy 
Will  soon  come  back  with  food  for  the  old  folks. 
The  fire  burns  brightly,  eh? 

SECOND  OLD  MAN 

The  fire  that  feeds 
On  hope  and  eats  our  hearts  away.     They've  burnt 
Everything,  everything !  J 

THE   BLIND   MAN 

[Ah,  princes  are  princes!] 
But  when  the  King  comes  home  from  the  Crusade, 
We  shall  have  better  times. 

FIRST    OLD   MAN 

Ay,  when  the  King 


Comes  home  from  the  Crusade. 

[child 


Mother,  I'm  hungry.] 


SECOND   WOMAN 

Oh,  but  if  I  could  only  find  a  crust 


SHERWOOD  11 

Left  by  the  dogs.     Masters,  [the  child  will  starve.] 
We  must  have  food. 

THE  BLIND  MAN 

I  tell  you  when  my  boy 
Comes  back,  we  shall  have  plenty! 

FIRST   WOMAN 

God  pity  thee! 

THE  BLIND  MAN 

What  dost  thou  mean? 

[second  woman 

Masters,  the  child  will  starve.J 

FIRST  old  man 
Hist,  who  comes  here  —  a  forester  ? 


THE   BLIND   MAN 


We'd  best 


Slip  back  into  the  dark. 


FIRST   WOMAN 

[Excitedly.'] 

No,  stay !     All's  well. 
There's  Shadow-of-a-Leaf,  good  Lady  Marian's  fool. 
Beside  him! 

THE   BLIND   MAN 

Ah,  they  say  there's  fairy  blood 
In  Shadow-of-a-Leaf.     But  I've  no  hopes  of  more 
From  him,  than  wild  bees'  honey-bags. 
[Enter  Little  John,  a  giant  fgure,  leading  a  donl'ey, 
laden  with  a  sack.     On  the  other  side,  Shado^v-of- 
a-Leaf  trips,  a  slender  figure  in  green  trunJc-hose 
and  doublet.     He  is  tickling  the  donkey's  ears  with 
a  long  fern.'] 


12  SHERWOOD 

SHADOW-OF-A-LEAF 

Gee !    Whoa ! 
Neddy,  my  boy,  have  you  forgot  the  Weaver, 
And  how  Titania  tickled  your  long  ears? 
Ha!  ha!     Don't  ferns  remind  you? 

LITTLE  JOHN 

Friends,  my  master 
Hath  sent  me  to  you,  fearing  ye  might  hunger. 

FIRST   OLD  MAN" 

Thy  master? 

LITTLE   JOHN 

Eobin  Hood. 

SECOND   WOMAN 

[^Falling  on  her  knees.'] 

God  bless  his  name. 
God  bless  the  kindly  name  of  Eobin  Hood. 

LITTLE  JOHN 

{^Giving  them  food.'] 

'Tis  well  nigh  all  that's  left  him;  and  to-night 
He  goes  to  his  betrothal  feast. 

\^All  the  outcasts  except  the  first  old  man  exeunt.'] 

SHAD0V5^-0F-A-LEAF 

[Pointing  to  the  donkey.] 

Now  look, 
There's  nothing  but  that  shadow  of  a  cross 
On  his  grey  back  to  tell  you  of  the  palms 
That  once  were  strewn  before  my  Lord,  the  King. 
[Won't  ferns,  won't  branching  ferns,  do  just  as  well? 
There's  only  a  dream  to  ride  my  donkey  now  1] 
But,  Neddy,  I'll  lead  you  home  and  cry  —  Hosanna  ! 
We'll  thread  the  glad  Gate  Beautiful  again, 


^1 


SHERWOOD  13 

Though  now  there's  only  a  Fool  to  hold  your  bridle 
And  only  moonlit  ferns  to  strew  your  path. 
And  the  great  King  is  fighting  for  a  grave 
In  lands  beyond  the  sea.     Come,  Neddy,  come, 
Hosanna ! 

lExit   Shadow-of-a-Leaf  with   the   donJcey.    He  strews 
ferns  before  it  as  he  goes.l 

FIRST    OLD   MAN 

'Tis  a  strange  creature,  master !     Thinkest 
There's  fairy  blood  in  him? 

LITTLE  JOHN 

'Twas  he  that  brought 
Word  of  your  plight  to  Robin  Hood.     He  flits 
Like  Moonshine  thro'  the  forest.     [He'll  be  home 
Before  I  know  it.     I  must  be  hastening  back. 
This  makes  a  sad  betrothal  night.] 

FIRST    OLD   MAN 

That  minds  me. 
Couched  in  the  thicket  yonder,  we  overheard 
The  Sheriff  tell  Prince  John  .  .  . 

LITTLE   JOHN 

Prince  John! 

FIRST    OLD   MAN 

You'd  best 
Warn  Robin  Hood.     They're  laying  a  trap  for  him. 
Ay!     Now  I  mind  me  of  it!     I  heard  'em  say 
They'd  take  him  at  the  castle. 

LITTLE   JOHN 

To-night? 


14  SHERWOOD 

FIRST    OLD   MA]^ 

To-night ! 
Fly,  lad,  for  God's  dear  love.     Warn  Eobin  Hood! 
Fly  like  the  wind,  [or  you'll  be  there  too  late. 
And  yet  you'd  best  be  careful.]     There's  five  score 
In  ambush  round  the  castle. 

LITTLE   JOHN 

I'll  be  there 
An  if  I  have  to  break  five  hundred  heads ! 
\_He  rushes  off  thro'  the  forest.     The  old  man  goes  into 

the   thicJcet  after  the  others.     The  scene  darkens. 

A  soft  light,  as  of  the  moon,  appears  between  the 

ferns  to  the  right  of  the  glade,  showing  Oberon 

and  TiTANiA.] 

TITANIA 

Yet  one  night  more  the  gates  of  fairyland 
Are  opened  by  a  mortal's  kindly  deed. 

OBERON 

Last  night  the  gates  were  shut,  and  I  heard  weeping! 

Men,  women,  children,  beat  upon  the  gates 

That  guard  our  happy  world.     [They  could  not  sleep. 

Titania,  must  not  that  be  terrible. 

When  mortals  cannot  sleep?] 

TITANIA 

Yet  one  night  more 
Dear  Eobin  Hood  has  opened  the  gates  wide 
And  their  poor  weary  souls  can  enter  in. 

OBERON 

Yet  one  night  more  we  woodland  elves  may  steal 
Out  thro'  the  gates.     [I  fear  the  time  will  come 
When  they  must  close  for  ever ;  and  we  no  more 
Shall  hold  our  Sherwood  revels.] 


SHERWOOD  15 

TITANIA 

Only  love 
And  love's  kind  sacrifice  can  open  them. 
For  when  a  mortal  hurts  himself  to  help 
Another,  then  he  thrusts  the  gates  wide  open 
Between  his  world  and  ours. 

OBERON 

Ay,  but  that's  rare, 
That  kind  of  love,  Titania,  for  the  gates 
Are  almost  always  closed. 

TITANIA 

Yet  one  night  more! 
Hark,  how  the  fairy  host  begins  to  sing 
Within  the  gates.     Wait  here  and  we  shall  see 
What  weary  souls  by  grace  of  Eobin  Hood 
This  night  shall  enter  Dreamland.     See,  they  come ! 
[jT/ie  soft  light  deepens  in  the  hollow  among  the  ferns  and 
the  ivory  gates   of  Dreamland  are  seen  swinging 
open.     The  fairy  host  is  heard,  singing  to  invite 
the  mortals  to  enter.] 

[Song  of  the  fairies.'] 

The   Forest  shall   conquer!     The    Forest    shall   conquer! 
The  Forest  shall  conquer ! 

Your  world  is  growing  old; 
But  a  Princess  sleeps  in  the  greenwood, 
Whose  hair  is  brighter  than  gold. 

The   Forest  shall   conquer!     The   Forest   shall   conquer! 
The  Forest  shall   conquer ! 

0  hearts  that  bleed  and  burn. 
Her  lips  are  redder  than  roses. 
Who  sleeps  in  the  faery  fern. 


16  SHERWOOD 

The  Forest  shall  conquer!  The  Forest  shall  conquer! 
The  Forest  shall  conquer! 

By  the  Beauty  that  wakes  anew 
Milk  white  with  the  fragrant  hawthorn 
In  the  drip  of  the  dawn-red  dew. 

The  Forest  shall  conquer!  The  Forest  shall  conquer! 
The  Forest  shall   conquer ! 

0  hearts  that  are  weary  of  pain, 
Come  back  to  your  home  in  JFaerie 
And  wait  till  she  wakes  again. 

^[The  victims  of  the  forest-laws  steal  out  of  the  thicket 
once  more  —  dark,  distorted,  lame,  blind,  serfs  with 
iron  collars  round  their  necks,  old  men,  women  and 
children;  and  as  the  fairy  song  breaks  into  chorus 
they  pass  in  procession  thro'  the  beautiful  gates. 
The  gates  slowly  close.  The  fairy  song  is  heard  as 
dying  away  in  the  distance.'] 

TITANIA 

[Coming  out  into  the  glade  and  holding  up  her  hands  to 
the  evening  star  beyond  the  tree-tops.] 

Shine,  shine,  dear  star  of  Love,  yet  one  night  more.J 


Scene  II.  A  banqueting  hall  in  Fitzwalter's  castle. 
The  guests  are  assembling  for  the  betrothal  feast 
of  Robin  and  Marian.  Some  of  Eobin  Hood's 
men,  clad  in  Lincoln  green,  are  just  arriving  at 
the  doors.  Shaeow-of-a-Leaf  runs  forward  to 
greet  them. 

SHADOW-OF-A-LEAF 

Come  in,  my  scraps  of  Lincoln  green;  come  in, 

My  slips  of  greenwood.     You're  much  wanted  here! 

Head,  heart  and  eyes,  we  are  all  pent  up  in  walls 

Of  stone  —  nothing  but  walls  on  every  side  — ■ 

And  not  a  rose  to  break  them  —  big  blind  walls, 

[Neat  smooth  stone  walls  !     Come  in,  my  ragged  robins  ;J 

Come  in,  my  jolly  minions  of  the  moon, 

My  straggling  hazel-boughs !     Hey,  bully  friar, 

Come  in,  my  knotted  oak!     Ho,  little  Much, 

Come  in,  my  sweet  green  linnet.     [Come,  my  cushats, 

Larks,  yellow-hammers,  fern-owls,  Oh,  come  in, 

Come  in,  my  Dian's  foresters,  and  drown  ns 

With  may,  with  blossoming  may !] 

PITZWALTER 

Out,  Shadow-of-a-Leaf  I 
Welcome,  welcome,  good  friends  of  Huntingdon, 
Or  Eobin  Hood,  by  whatsoever  name 
You  best  may  love  him. 

CRIES 

Robin !     Robin !     Eobin ! 
[Enter  Robin  Hood.] 

FITZWALTER 

Kobin,  so  be  it !     Myself  I  am  right  glad 

17 


18  SHERWOOD 

To  call  him  at  this  bright  betrothal  feast 
My  son. 

{Lays  a  hand  on  Eobin's  shoulder.'] 

Yet,  though  I  would  not  cast  a  cloud 
Across  our  happy  gathering,  you'll  forgive 
An  old  man  and  a  father  if  he  sees 
All  your  glad  faces  thro'  a  summer  mist 
Of  sadness. 

ROBIN 

Sadness?    Yes,  I  understand. 

FITZW  ALTER 

No,  Kobin,  no,  you  cannot  understand. 


ROBIN 
FITZW  ALTER 

Ay,  that's  all  jovl  think  of,  boy. 
But  I  must  say  a  word  to  all  of  you 
Before  she  comes. 

ROBIN 

Why  —  what?  .  . 

riTZWALTER 


Where's  Marian? 


No  need  to  look 


So  startled;  but  it  is  no  secret  here; 
[For  many  of  you  are  sharers  of  his  wild 
Adventures.     Now  I  hoped  an  end  had  come 
To  these,  until  another  rumour  reached  me, 
This  very  day,  of  yet  another  prank.] 
You  know,  you  know,  how  perilous  a  road 
My  Marian  must  ride  if  Huntingdon 
Tramples  the  forest-laws  beneath  his  heel 
And,  in  the  thin  disguise  of  Eobin  Hood, 
Succours  the  Saxon  outlaws,  makes  his  house 
A  refuge  for  them,  lavishes  his  wealth 
To  feed  their  sick  and  need^. 


SHERWOOD  19 

[The  Sheriff  and  two  of  his  men  appear  in  the  great 
doorway  out  of  sight  of  the  guests.^ 

SHERIFF 

[Whispering.'] 

Not  yet !  keep  back ! 
One  of  you  go  —  see  that  the  guards  are  set ! 
He  must  not  slip  us. 

FITZWALTER 

Oh,  I  know  his  heart 
Is  gold,  but  this  is  not  an  age  of  gold ; 
And  those  who  have  must  keep,  or  lose  the  power 
Even  to  help  themselves.     No  —  he  must  doff 
His  green  disguise  of  Eobin  Hood  for  ever. 
And  wear  his  natural  coat  of  Huntingdon. 

ROBIN 

Ah,  which  is  the  disguise  ?     Day  after  day 

We  rise  and  put  our  social  armour  on, 

A  different  mask  for  every  friend;  but  steel 

Always  to  case  our  hearts.     We  are  all  so  wrapped, 

So  swathed,  so  muffled  in  habitual  thought 

That  now  I  swear  we  do  not  know  our  souls 

Or  bodies  from  their  winding-sheets;  but  Custom, 

Custom,  the  great  god  Custom,  all  day  long 

Shovels  the  dirt  upon  us  where  we  lie 

Buried  alive  and  dreaming  that  we  stand 

Upright  and  royal.     Sir,  I  have  great  doubts 

About  this  world,  doubts  if  we  have  the  right 

To  sit  down  here  for  this  betrothal  feast 

And  gorge  ourselves  with  plenty,  when  we  know 

That  for  the  scraps  and  crumbs  which  we  let  fall 

And  never  miss,  children  would  kiss  our  hands 

And  women  weep  in  gratitude.     [Suppose 

A  man  fell  wounded  at  your  gates,  you'd  not 

Pass  on  and  smile  and  leave  him  there  to  die. 


20  SHERWOOD 

And  can  a  few  short  miles  of  distance  blind  you? 

Miles,  nay,  a  furlong  is  enough  to  close 

The  gates  of  mercy.     Must  we  thrust  our  hands 

Into  the  wounds  before  we  can  believe? 

Oh,  is  our  sight  so  thick  and  gross?     We  came, 

We  saw,  we  conquered  with  the  Conqueror. 

We  gave  ourselves  broad  lands ;]  and  when  our  king 

Desired  a  wider  hunting  ground  we  set 

Hundreds  of  Saxon  homes  a-blaze  and  tossed 

Women  and  children  back  into  the  fire 

If  they  but  wrung  their  hands  against  our  will. 

And  so  we  made  our  forest,  and  its  leaves 

Were  pitiful,  more  pitiful  than  man. 

[They  gave  our  homeless  victims  the  same  refuge 

And  happy  hiding  place  they  give  the  birds 

And  foxes.     Then  we  made  our  forest-laws, 

And  he  that  dared  to  hunt,  even  for  food, 

Even  on  the  ground  where  we  had  burned  his  hut. 

The  ground  we  had  drenched  with  his  own  kindred's  blood, 

Poor  foolish  churl,  why,  we  put  out  his  eyes 

With  red-hot  irons,  cut  off  both  his  hands, 

Torture  him  with  such  horrors  that  .  .  .  Christ  God,J 

How  can  I  help  but  fight  against  it  all  ? 

[SHADOW-OF-A-LEAF 

Ah,  gossips,  if  the  Conqueror  had  but  burned 

Everything  with  four  walls,  hut,  castle,  palace, 

And  turned  the  whole  wide  world  into  a  forest. 

Drenched  us  with  may,  we  might  be  happy  then ! 

With  sweet  blue  wood-smoke  curling  thro'  the  boughs. 

And  just  a  pigeon's  flap  to  break  the  silence. 

And  ferns,  of  course,  there's  much  to  make  men  happy. 

Well,  well,  the  forest  conquers  at  the  last ! 

I  saw  a  thistle  in  the  castle  courtyard, 

A  purple  thistle  breaking  thro'  the  pavement. 

Yesterday;  and  it's  wonderful  how  soon 

Some  creepers  pick  these  old  grey  walls  to  pieces. 


SHERWOOD  21 

These  nunneries  and  these  monasteries  now, 
They  don't  spring  up  like  flowers,  so  I  suppose 
Old  mother  Nature  wins  the  race  at  last.] 

FITZWALTER 

Eobin,  my  heart  is  with  you,  but  I  know 
A  hundred  ages  will  not  change  this  earth. 

SHADOW-OF-A-LEAF 

[With  a  candle  in  his  handJ] 

Gossip,  suppose  the  sun  goes  out  like  this. 
Pouf! 

[Blows  it  out.l 
Stranger  things  have  happened 

FITZWALTER 

Silence,  fool!  .  .  . 
So,  if  you  share  your  wealth  with  all  the  world 
Earth  will  be  none  the  better,  and  my  poor  girl 
Will  suffer  for  it.     Where  you  got  the  gold 
You  have  already  lavished  on  the  poor 
Heaven  knows. 

FRIAR  TUCK 

Oh,  by  the  mass  and  the  sweet  moon 
Of  Sherwood,  so  do  I?     That's  none  so  hard 
A  riddle! 

SHADOW-OF-A-LEAF 

Ah,  Friar  Tuck,  we  know,  we  know ! 
Under  the  hawthorn  bough,  and  at  the  foot 
Of  rainbows,  that's  where  fairies  hide  their  gold. 
[Cut  me  a  silver  penny  out  of  the  moon 
ISText  time  you're  there. 

[Whispers.'] 
Now  tell  me,  have  you  brought 
Your  quarter-staff? 


23  SHERWOOD 

FRIAR  TUCK 

[Whispering.'] 
Hush !  hush. 


I  see  it!] 


SHADOW-OF-A-LEAP 

Oh,  mum's  the  word ! 

FITZWALTER 

Believe  me,  Eobin,  there's  one  way 
And  only  one  —  patience !     When  Lion-Heart 
Comes  home  from  the  Crusade,  he  will  not  brook 
This  blot  upon  our  chivalry.     Prince  John 
Is  dangerous  to  a  heart  like  yours.     Beware 
Of  rousing  him.     Meanwhile,  your  troth  holds  good; 
But  till  the  King  comes  home  from  the  Crusade 
You  must  not  claim  your  bride. 

ROBIN 

So  be  it,  then.  .  .  . 
When  the  great  King  comes  home  from  the  Crusade !  .  .  . 

FITZWALTER 

Meanwhile  for  Marian's  sake  and  mine,  I  pray 
Do  nothing  rash. 
[Enter  Widow  Scarlet.    She  goes  up  to  Eobin  Hood.] 

WIDOW    SCARLET 

Are  you  that  Eobin  Hood 
They  call  the  poor  man's  friend? 

ROBIN 

I  am. 

WIDOW    SCARLET 

They  told  me, 
They  told  me  I  should  find  you  here.     They  told  me ! 


SHERWOOD  23 


EOBIN 

Come,  mother,  what's  the  trouble? 

WIDOW    SCARLET 


Sir,  my  son 


Will  Scarlet  lies  in  gaol  at  Nottingham 

For  killing  deer  in  Sherwood !     Sir,  they'll  hang  him. 

He  only  wanted  food  for  him  and  me ! 

[They'll  kill  him,  I  tell  you,  they'll  kill  him.     I  can't  help 

Crying  it  out.     He's  all  I  have,  all!     Save  him! 

rU  pray  for  you,  I'll  .  .  .] 

ROBIN 

[To  FiTZWALTER,  as  he  raises  "Widow  Scarlet  gently  to 
her  feet.'] 

Sir,  has  not  the  King 
Come  home  from  the  Crusade?     Does  not  your  heart 
Fling  open  wide  its  gates  to  welcome  him? 

FITZWALTER 

Eobin,  you  set  me  riddles.     Follow  your  conscience. 
Do  what  seems  best. 

robin 

I  hope  there  is  a  way. 
Mother.     I  knew  Will  Scarlet.     Better  heart 
There  never  beat  beneath  a  leather  jerkin. 
[He  loved  the  forest  and  the  forest  loves  him;] 
And  if  the  lads  that  wear  the  forest's  livery 
Of  living  green  should  happen  to  break  out 
And  save  WiU  Scarlet  [as  on  my  soul  I  swear, 
Mother,  they  shall  !"|  why,  that's  a  matter  none 
Shall  answer  for  to  prince,  or  king,  or  God, 
But  you  and  Eobin  Hood;  [and  if  the  judgment 
Strike  harder  upon  us  than  the  heavenly  smile 


24  SHERWOOD 

Of  sunshine  thro'  the  greenwood,  may  it  fall 
Upon  my  head  alone.] 

{Enter  the  Sheriff,  with  two  of  his  men.'] 

SHERIFF 

[Reads.l 

In  the  King's  name! 
Thou,  Earl  of  Huntingdon,  by  virtue  of  this  writ  are 
hereby  attained  and  deprived  of  thine  earldom,  thy  lands 
and  all  thy  goods  and  chattels  whatsoever  and  whereas  thou 
hast  at  divers  times  trespassed  against  the  officers  of  the 
king  by  force  of  arms,  thou  art  hereby  outlawed  and  ban- 
ished the  realm. 

ROBIN 

That's  well. 

[S"e  laughs.'] 

It  puts  an  end  to  the  great  question 
Of  how  I  shall  dispose  my  wealth,  Fitzwalter. 
But  "  banished  "  ?  —  Ko  !  [that  is  beyond  their  power 
While  I  have  power  to  breathe,  unless  they  banish 
The  kind  old  oaks  of  Sherwood.     They  may  call  it 
"  Outlawed,"  perhaps.J 

FITZWALTER 

Who  let  the  villain  in 
Thro'  doors  of  mine  ? 

CRIES 

Out  with  him !     Out  with  him ! 
\^The  guests  draw  swords  and  the  Sheriff  retreats  thro' 
the  doorway  tvith  his  men.'} 

ROBIN 

Stop! 
Put  up  your  swords !     He  had  his  work  to  do. 

[Widow  Scarlet  falls  subbing  at  his  feet.'] 


SHERWOOD  25 

WIDOW    SCARLET 

0  master,  master,  who  will  save  my  son, 
My  son  ? 

ROBIN 

[Rais^lng  her.'} 

Why,  mother,  this  is  but  a  dream. 
This  poor  fantastic  strutting  show  of  law ! 
And  you  shall  wake  with  us  in  Sherwood  Forest 
And  find  Will  Scarlet  in  your  arms  again. 
Come,  cheerly,  cheerl}^  we  shall  overeome 
All  this.     Hark! 
[A  bugle  sounds  in  the  distance.     There  is  a  scuffle  in  the 

doorway  and  Little  John  hursts  in  with  his  head 

bleeding.'] 

LITTLE  JOHN 

Master,  master,  come  away ! 
They  are  setting  a  trap  for  thee,  drawing  their  lines 
All  round  the  castle. 

ROBIN 

How  now.  Little  John, 
They  have  wounded  thee !     Art  hurt  ? 

LITTLE.  JOHN 

No,  no,  that's  nothing. 
Only  a  bloody  cockscomb.     Come,  be  swift, 
[Or,  if  thou  wert  a  fox,  thou'dst  never  slip 
Between  'em.]     Ah,  hear  that? 

\_Another  bungle  sounds  from  Jinother  direction.] 

That's  number  twa. 
Two  sides  cut  off  already.     When  the  third 
Sounds  —  they  will  have  thee,  sure  as  eggs  is  eggs. 
Prince  John  is  there,  Fitzwalter  cannot  save  'ee. 
Thev'll  burn  the  castle  down. 


26  SHERWOOD 

EOBIN 

Prince  John  is  there  ? 

LITTLE  JOHN 

Ay,  and  my  lord  Fitzwalter  had  best  look 
Well  to  my  mistress  Marian,  if  these  ears 
Heard  right  as  I  came  creeping  thro'  their  lines. 
[Look  well  to  her,  my  lord,  look  well  to  her.] 
Come,  master,  come,  for  God's  sake,  come  away. 

FITZWALTER 

Eohin,  this  is  thy  rashness.     I  warned  thee,  boy ! 
Prince  John !     Nay,  that's  too  perilous  a  jest 
Por  even  a  prince  to  play  with  me.     Come,  Robin, 
You  must  away  and  quickly. 

ROBIN 

Let  me  have 
One  word  with  Marian. 

LITTLE  JOHN 

It  would  be  the  last 
On  earth.     Come,  if  you  ever  wish  to  see 
Her  face  again. 

FITZWALTER 

Come,  Eobin,  are  you  mad? 
You'll  bring  us  all  to  ruin ! 

{^He  opens  a  little  door  in  the  wa2lJ\ 

The  secret  passage. 
This  brings  you  out  by  Much  the  Miller's  wheel. 
Thro'  an  otter's  burrow  in  the  river^bank. 
[Come,  quick,  or  you'll  destroy  us !     Take  this  lanthorn.] 
If  you're  in  danger,  slip  into  the  stream 
And  let  it  carry  you  down  into  the  heart 
Of  Sherwood.     Come  now,  quickly,  you  must  go ! 


SHERWOOD  37 

ROBIN 

The  old  cave,  lads,  in  Sherwood,  you  know  where 
To  find  me.     [Friar  Tuck,  bring  Widow  Scarlet 
Thither  to-morrow,  with  a  word  or  two 
From  Lady  Marian !] 

FITZWALTER 

Quickly,  quickly,  go. 
[Zfe  pushes  Eobin  and  Little  John  into  the  opening  and 

shuts  the  door.     A  pause.] 
Oh,  I  shall  pay  for  this,  this  cursed  folly ! 
Henceforth  I  swear  I  wash  my  hands  of  him ! 
[Enter  Marian,  from  a  door  on  the  light  above  the  ban- 
queting hall.     She  pauses,  pale  and  frightened, 
on  the  broad  steps  leading  down.'] 

MARIAN 

Father,  where's  Eobin? 


Until  I  called  you. 


FITZWALTER 

Child,  I  bade  you  stay 

MARIAN 

Something  frightened  me! 
Father,  where's  Robin?    Where's  Robin? 

FITZWALTER 

Hush,  Marian,  hark! 
{^All  stand  listening.'] 

SHADOW-OF-A-LEAF 

[^Stealing  to  the  foot  of  the  stairs  and  whispering  to  Lady 

Marian.] 
Lady,  they're  all  so  silent  now.     I'll  tell  you 
I  had  a  dream  last  night  —  there  was  a  man 


28  SHERWOOD 

That  bled  to  death,  because  of  four  grey  walls 
And  a  black-hooded  nun. 


PITZWALTER 

lAngrily.l 

Hist,  ShadoTv-of-a-Leaf ! 
IThe  third  bugle  sounds.     There  is  a  clamour  at  the  doors. 
Enter  Prince  John  and  his  retainers.] 

JOHN 

[Moclcingly.'] 

Now  this  is  fortunate!     I  come  in  time 

To  see  —  Oh,  what  a  picture !     Lady  Marian, 

Forgive  me  —  coming  suddenly  out  of  the  dark 

And  seeing  you  there,  robed  in  that  dazzling  white 

Above  these  verdant  gentlemen,  I  feel 

Like  one  that  greets  the  gracious  evening  star 

Thro'  a  gap  in  a  great  wood. 

Is  aught  amiss? 
Why  are  you  all  so  silent  ?     Ah,  my  good, 
My  brave  Fitzwalter,  I  most  fervently 
Trust  I  am  not  inopportune. 

FITZWALTER 

My  lord, 
I  am  glad  that  you  can  jest.     I  am  sadly  grieved 
And  sorely  disappointed  in  that  youth 
Who  has  incurred  your  own  displeasure. 

JOHN 

Ah? 

Your  future  son-in-law  ? 

FITZWALTER 

Never  on  earth! 
He  is  outlawed — 


SHERWOOD  29 

MARIAN 

Outlawed ! 

FITZWALTEE 

And  I  wash  my  hands 
Of  Huntingdon.     His  shadow  shall  not  darken 
My  doors  again! 


JOHN 

That's  vehement !     Ha  !  ha ! 
And  what  does  Lady  Marian  say  ? 

MARIAN 

:My  father 
Speaks  hastily.     I  am  not  so  unworthy. 

PITZW  ALTER 

Unworthy  ? 

MARIAN 

Yes,  unworthy  as  to  desert  him 
Because  he  is  in  trouble  —  the  bravest  man 
In  England  since  the  days  of  Hereward. 
You  know  why  he  is  outlawed  ! 

FITZW  ALTER 

[To  Prince  John.] 

Sir,  she  speaks 
As  the  spoilt  child  of  her  old  father's  dotage. 
Give  her  no  heed.     She  shall  not  meet  with  him 
On  earth  again,  and  till  she  promise  this. 
She'll  sun  herself  within  the  castle  garden 
And  never  cross  the  draw-bridge. 

MARIAN 

Then  I'll  swim 
The  moat! 


30  SHERWOOD 

FRIAR  TUCK 

Ha!  ha!  well  spoken. 

MARIAN 

Oh,  you  forget, 
Father,  you  quite  forget  there  is  a  King; 
And,  when  the  King  comes  home  from  the  Crusade, 
Will  3'ou  forget  Prince  John  and  change  once  more? 
[Murmurs  of  assent  from  the  Foresters.] 

JOHN 

Enough  of  this. 
Though  I  be  prince,  I  am  vice-gerent  too ! 
Fitzwalter,  I  would  have  some  private  talk 
With  you  and  Lady  Marian.     Bid  your  guests 
Eemove  a  little  — 

FITZWALTER 

I'll  lead  them  all  within! 
And  let  them  make  what  cheer  they  may.     Come,  friends. 

[He  leads  them  up  the  stairs  to  the  inner  room.] 
My  lord,  I  shall  return  immediately ! 

[Exeunt  Fitzwalter  and  the  guestsJl 


Marian  1 

My  lord ! 


JOHN 

MARIAN 

JOHN 


[Drawing  close  to  her.'] 

I  have  come  to  urge  a  plea 
On  your  behalf  as  well  as  on  my  own! 
Listen,  you  may  not  know  it  —  I  must  tell  you. 
I  have  watched  your  beauty  growing  like  a  flower, 
With  —  why  should  I  not  say  it  —  worship ;  yes, 
Marian,  I  will  not  hide  it. 


SHERWOOD  31 

MARIAN 

Sir,  you  are  mad ! 
[Sir,  and  your  bride,  your  bride,  not  three  months  wedded ! 
You  cannot  mean  .  .  . 


JOHN 

Listen  to  me !     Ah,  Marian, 
You'd  be  more  merciful  if  you  knew  all ! 
D'you  think  that  princes  wed  to  please  themselves  ?J 

MARIAN 

Sir,  [English  maidens  do ;  and]  I  am  plighted 
Not  to  a  prince,  but  to  an  outlawed  man. 

JOHN 

Listen  to  me!     One  word!     Marian,  one  word! 
P  never  meant  you  harm !     Indeed,  what  harm 
Could  come  of  this?]     Is  not  your  father  poor? 
I'd  make  him  rich  1     Is  not  your  lover  outlawed  ? 
I'd  save  him  from  the  certain  death  that  waits  him. 
You  say  the  forest-laws  afflict  your  soul 
And  his  —  you  say  you'd  die  for  their  repeal ! 
Well  —  I'll  repeal  them.     All  the  churls  in  England 
Shall  bless  your  name  and  mix  it  in  their  prayers 
With  heaven  itself. 

MARIAN 

The  price  ? 

JOHN 

You  call  it  that ! 
To  let  me  lay  the  world  before  5'our  feet, 
[To  let  me  take  this  little  hand  in  mine. 
Whj  should  I  hide  my  love  from  you?] 


32  SHERWOOD 

MAKIAN 

No  more, 
I'll  hear  no  more !     You  are  a  prince,  you  say  ? 

JOHN 

One  word  —  suppose  it  some  small  sacrifice. 

To  save  those  churls  for  whom  you  say  your  heart 

Bleeds ;  yet  you  will  not  lift  your  little  finger 

To  save  them !     [And  what  hinders  you  ?  —  A  breath, 

A  dream,  a  golden  rule !     Can  you  not  break  it 

For  a  much  greater  end?] 

MAEIAN 

I'd  die  to  save  them. 


JOHN 


Then  live  to  save  them. 


MARIAN 

No,  you  will  not  let  me; 
D'you  think  that  bartering  my  soul  will  help 
To  save  another  ?     [If  there's  no  way  but  this. 
Then  through  my  lips  those  suffering  hundreds  cry, 
We  choose  the  suffering.]     All  that  is  good  in  them. 
All  you  have  left,  all  you  have  not  destroyed. 
Cries  out  against  you :  and  I'll  go  to  them. 
Suffer  and  toil  and  love  and  die  with  them 
Eather  than  touch  your  hand.     [You  over-rate 
Your  power  to  hurt  our  souls.     You  are  mistaken! 
There  is  a  golden  rule !] 

JOHN 

And  with  such  lips 
You  take  to  preaching !     I  was  a  fool  to  worry 
Your  soul  with  reason.     With  hair  like  yours  —  it's  hope- 
less! 
But  Marian  —  you  shall  hear  me. 


SHERWOOD  33 

[ffe  catches  her  in  his  arms.'] 

[Yes,  by  God,] 
Marian,  you  shall!     £1  love  you.J 


MARIAN 

\^8truggUng.~\ 


You  should  not  live ! 


£jOHN 

One  kiss,  then !     Devil  take  it.] 

[Enter  Fitzwalter  above.'] 

MARIAN 

[Wresting  herself  free.] 

You  should  not  live ! 
Were  I  a  man  and  not  a  helpless  girl 
You  should  not  live ! 

JOHN 

Come,  now,  that's  very  wicked. 
See  how  these  murderous  words  affright  your  father. 
My  good  Fitzwalter,  [there's  no  need  to  look 
So  ghastly.     For  your  sake  and  hers  and  mine] 
I  have  been  trying  to  make  your  girl  forget 
The  name  of  Huntingdon.     A  few  short  months 
At  our  gay  court  would  blot  his  memory  out! 
I  promise  her  a  life  of  dazzling  pleasures, 
And,  in  return  she  flies  at  me  —  a  tigress  — 
Clamouring  for  my  blood  !     Try  to  persuade  her ! 

FITZWALTER 

My  lord,  you  are  very  good.     She  must  decide 
Herself. 

JOHN 

[Angrily.] 
I'll  not  be  trifled  with !     I  hold 
The  hand  of  friendship  out  and  you  evade  it. 


34  SHERWOOD 

[The  moment  I  am  gone,  back  comes  your  outlaw.] 
You  say  you  have  no  power  with  your  own  child! 
Well,  then  I'll  take  her  back  this  very  night; 
Back  to  the  court  with  me.     How  do  I  know 
What  treasons  you  are  hatching  here?     I'll  take  her 
As  hostage  for  yourself. 


I  have  sworn  to  you. 


FITZWALTBR 

My  lord,  you  jest ! 

JOHN 


Ko  more !     If  you  be  loyal. 
What  cause  have  you  to  fear  ? 


PITZV7ALTER 

My  lord,  I'll  give 
A  hundred  other  pledges ;  but  not  this. 

JOHN 

By  heaven,  will  you  dictate  your  terms  to  me  ? 
I  say  that  she  shall  come  back  to  the  court 
This  very  night!     Ho,  there,  my  men. 

[Enter  John's  retainers.'] 

Escort 
This  lady  back  with  us. 

FITZW  ALTER 

Back  there,  keep  back.     Prince  or  no  prince, 
I  say  she  shall  not  go ! 

[He  draws  his  sword.'] 

I'd  rather  see  her 
Begging  in  rags  with  outlawed  Huntingdon 
Than  that  one  finger  of  yours  should  soil  her  glove. 

JOHN 

So  here's  an  end  of  fawning,  here's  the  truth^ 


SHERWOOD  35 

My  old  white-bearded  hypocrite.     Come,  take  her, 
Waste  no  more  time.     [Let  not  the  old  fool  daunt  you 
With  that  great  skewer.] 

FITZWALTER 

[J.5  John's  men  advance!] 

[By  God,  since  you  will  have  it,] 
Since  you  will  drive  me  to  my  last  resort. 
Break  down  my  walls,  and  hound  me  to  the  forest, 
This  is  the  truth !     Out  of  my  gates !     Ho,  help  ! 
A  Robin  Hood !     A  Robin  Hood ! 

[There  is  a  clamour  from  the  upper  room.  The  doors  are 
flung  open  and  the  Foresters  appear  at  the  head 
of  the  steps.] 

FRIAR  TUCK 

[Coming  down  into  the  hall  and  brandishing  his  quarter- 
staff.] 

A  Robin? 
Who  calls  on  Robin  Hood  ?    His  men  are  here 
To  answer. 

FITZWALTER 

Drive  these  villains  out  of  my  gates. 

FRIAR  TUCK 

[To  Prince  John.] 
Sir,  I  perceive  you  are  a  man  of  wisdom. 
So  let  me  counsel  you.     There's  not  a  lad 
Up  yonder,  but  at  four-score  yards  can  shoot 
A  swallow  on  the  wing.     They  have  drunken  deep. 
I  cannot  answer  but  their  hands  might  loose 
Their  shafts  before  they  know  it.     Now  shall  I  give 
The  word?     Ready,  my  lads! 

[The  Foresters  maJce  ready  to  shoot.  John  hesitates  for 
a  moment.] 


36  SHERWOOD 

JOHN 

My  Lady  Marian, 
One  word,  and  then  I'll  take  my  leave  of  you ! 

[She  pays  no  heed.'] 
Farewell,  then !     I  have  five-score  men  at  hand ! 
[And  they  shall  be  but  lightning  to  the  hell 
Of  my  revenge,  Fitzwalter.     I  will  not  leave 
One  stone  upon  another.]     From  this  night's  work 
Shall  God  Himself  not  save  you. 

[Exeunt  John  and  his  men.] 

FRIAR   TUCK 

[As  they  go  out.] 

My  Lord  Fitzwalter ! 
I  have  confessed  him !     Shall  I  bid  'em  shoot  ? 
'Twill  save  a  world  of  trouble. 

FITZWALTER 

No ;  or  the  King 
Himself  will  come  against  me.     Follow  them  out. 
Drive  them  out  of  my  gates,  then  raise  the  drawbridge 
And  let  none  cross.     Oh,  I  foresaw,  foretold ! 
Eobin  has  wrecked  us  all ! 

[Exeunt  the  Foresters  and  Fitzwalter.     Shadow-of-a- 
Leaf  remains  alone  with  Marian,] 

MARIAN 

[She  flings  herself  down  on  a  couch  and  buries  her  head  in 
her  arms.] 

0  Eobin,  Kobin, 
I  cannot  lose  you  now ! 

shadow-of-a-leaf 

[Sitting  at  her  feet.     The  lights  grow  dim.] 
[Ah,  well,  the  prince 
Promised  to  break  the  walls  down.     Don't  you  think 
These  villains  are  a  sort  of  ploughshare,  lady. 


SHERWOOD  37 

And  where  they   plough,   who   knows   what  wheat  may 

spring ! 
The  lights  are  burning  low  and  very  low; 
So,2  Lady  Marian,  let  me  tell  my  dream. 
There  was  a  forester  that  bled  to  death 
Because  of  four  grey  walls  and  a  black  nun 
Whose  face  I  could  not  see  —  but,  oh,  beware ! 
Though  I  am  but  your  fool,  your  Shadow-of-a-Leaf, 
Dancing  before  the  wild  winds  of  the  future, 
£1  feel  them  thrilling  through  my  tattered  wits 
Long  ere  your  wisdom  feels  them.     My  poor  brain 
Is  like  a  harp  hung  in  a  willow-tree 
Swept  by  the  winds  of  fate.]     I  am  but  a  fool. 
But  oh,  beware  of  that  black-hooded  nun. 

MAEIAN 

This  is  no  time  for  jesting,  Shadow-of-a-Leaf. 

SHADOW-OF-A-LEAF 

The  lights  are  burning  low.     Do  you  not  feel 
A  cold  breath  on  your  face  ? 

MARIAN 

Fling  back  that  shutter ! 
Look  out  and  tell  me  what  is  happening. 

SH  ADO  W-O  F- A-LEAP 

{^Flinging  bach  the  sliutter-l 

[Look, 
Look,  gossip,  how  the  moon  comes  dancing  in.] 
Ah,  they  have  driven  Prince  John  across  the  drawbridge. 
They  are  raising  it,  now  ! 

[^There  are  cries  in  the  distance,  then  a  heavy  sound  of 
chains  clanMng  and  silence.     Shadow-of-a-Leaf 
turns  from  the  ivindow  and  stands  in  the  stream 
of  moonlight  J  pointing  to  the  door  on  the  left.^ 
Look !     Look ! 


38  SHERWOOD 

MARIAN" 

\_Starting  up  with  a  cry  of  fear.'\ 

Ah! 
l^The  tall  figure  of  a  nun  glides  into  the  moonlit  hall  and 
throwing  hack  her  hood  reveals  the  face  of  Queen 
Elinor.] 

ELINOR 

Lady  Marian, 
Tell  me  quickly,  where  is  Huntingdon  hiding? 

MARIAN 

The  Queen! 

ELINOR 

Yes!  Yes!  I  donned  this  uncouth  garb 
To  pass  through  your  besiegers.     If  Prince  John 
Discover  it,  all  is  lost.     Come,  tell  me  quickly. 
Where  is  Eobin? 

[mariaj^" 
Escaped,  I  hope. 


ELINOR 


IN'ot  here  ? 


MARIAN 

No! 

ELINOR 

Come,  dear  Lady  Marian,  do  not  doubt  me. 
I  am  here  to  save  you  both. 

MARIAN 

He  is  not  here.J 

ELINOR 

[Ah,  but]  you  know  where  I  may  find  him,  Marian. 

[All  will  be  lost  if  you  delay  to  tell  me 

Where  I  may  speak  with  him.]     He  is  in  peril. 


SHERWOOD  39 

By  dawn  Prince  John  will  have  five  hundred  men 
Beleaguering  the  castle.     [You  are  all  ruined 
Unless  you  trust  me  !     Armies  will  scour  the  woods 
To  hunt  him  down,]     Even  now  he  may  be  wounded, 
[Helpless  to  save  himself.] 

MARIAN 

Wounded ! 

ELINOR 

Dear  child, 
Take  me  to  him.     Here,  on  this  holy  cross, 
My  mother's  dying  gift,  I  swear  to  you 
I  wish  to  save  him. 

MARIAN 

Oh,  but  how? 


ELINOR 


Trust  me ! 


MARIAN 

Wounded !     He  may  be  wounded !     Oh,  if  I  could, 
I'd  go  to  him !     I  am  helpless,  prisoned  here. 
My  father  .  .  . 

ELINOR 

I  alone  can  save  your  father. 
Give  me  your  word  that  if  I  can  persuade  him. 
You'll  lead  me  to  your  lover's  hiding  place, 
And  let  me  speak  with  him. 

[Enter  Fitzwalter.] 

Ah,  my  Lord  Fitzwalter ! 

FITZV7  ALTER 

The  queen !     [0  madam,  madam,  I  am  driven 
Beyond  myself.]     This  girl,  this  foolish  girl 


40  SHERWOOD 

Has  brought  us  all  to  ruin.     This  Huntingdon, 
As  I  foresaw,  foresaw,  foretold,  foretold, 
Has  dragged  me  down  with  him. 

ELINOR 

I  am  on  your  side, 

If  you  will  hear  me ;  and  you  yet  may  gain 
A  son  in  Eobin  Hood. 

FITZW  ALTER 

Madam,  I  swear 
I  have  done  with  him.     [I  pray  you  do  not  Jest; J 
But  if  you'll  use  your  power  to  save  my  lands  .  .  . 
I  was  provoked!  .  .  . 
[Prince  John  required  this  child  here  — • 

ELINOR 

Oh,  I  know! 
But  you'll  forgive  him  that !     I  do  not  wonder 
That  loveliness  like  hers — J 

EITZWALTER 

[Ay,  but  you'll  pardon 
A  father's  natural  anger.     Madam,  I  swear 
I  was  indeed  provoked.J     But  you'll  assure  him 
I've  washed  my  hands  of  Huntingdon. 

MARIAN 

And  yet 
His  men  are,  even  now,  guarding  your  walls ! 
Father,  you  cannot,  you  shall  not  — 

PITZW  ALTER 

Oh,  be  silent  1 
[Who  wrapt  me  in  this  tangle?]     Are  you  bent 
On  driving  me  out  in  my  old  age  to  seek 
Shelter  in  caves  and  woods? 


SHERWOOD  41 

ELINOR 

My  good  Fitzwalter, 
It  has  not  come  to  that !     If  you  will  trust  me 
All  will  be  well ;  but  I  must  speak  a  word 
With  Eobin  Hood. 

FITZWALTER 

You! 

ELINOR 

Oh,  I  have  a  reason. 
Your  daughter  knows  his  hiding  place. 

FITZWALTER 

She  knows ! 

ELINOR 

Oh,  trust  them  both  for  that.     [I  am  risking  much ! 
To-morrow  she  shall  guide  me  there.     This  bird 
Being  flown,]  trust  me  to  make  your  peace  with  John. 

FITZWALTER 

But  —  Marian ! 

ELINOR 

She'll  be  safer  far  with  Eobin, 
Than  loitering  here  until  your  roof-tree  burns. 
£1  think  you  know  it.]     Fitzwalter,  I  can  save  you, 
I  swear  it  on  this  cross. 

FITZWALTER 

But  —  Marian !     Marian ! 

ELINOR 

Your  castle  wrapt  in  flame!  .  .  . 

There's  nought  to  fear, 
If  she  could  —  Marian,  once,  at  a  court  masque. 
You  wore  a  page's  dress  of  Lincoln  green, 


42  SHERWOOD 

[And  a  green  hood  that  muffled  half  your  face, 
I  could  have  sworn  'twas  Eobin  come  again  — 
He  was  my  page,  you  know  — ] 
Wear  it  to-morrow  —  go,  child,  bid  your  maid 
Make  ready  —  we'll  set  out  betimes. 

MAEIAN 

[Going  up  to  her  father.'] 

I'll  go, 
If  you  will  let  me,  father.     He  may  be  wounded ! 
Father,  forgive  me.     Let  me  go  to  him. 

ELINOE 

Go,  child,  first  do  my  bidding.     He'll  consent 
When  you  return. 

[Exit  Marian.] 
My  dear  good  friend  Fitzwalter, 
Trust  me,  I  have  some  power  with  Huntingdon. 
All  shall  be  as  you  wish.     I'll  let  her  guide  me. 
But  —  as  for  her  —  she  shall  not  even  see  him 
Unless  you  wish.     Trust  me  to  wind  them  all 
Around  my  little  finger. 

FITZWALTER 

[It  is  dark  here. 
Let  us  within.]     Madam,  I  think  you  are  right. 
And  3^ou'll  persuade  Prince  John  ? 

ELINOR 

[As  they  go  up  the  steps.] 

I  swear  by  this, 
This  holy  cross,  my  mother's  dying  gift ! 

FITZWALTER 

It's  very  sure  he'd  burn  the  castle  down. 
[Exeunt.] 


SHERWOOD  43 


SHADOW-OF-A-LEAP 


[Coming   out  into   the   moonliglit  and  staring   up  after 

them.'] 
The  nun !     The  nun !     They'll  whip  me  if  I  speak, 
For  I  am  only  Shadow-of-a-Leaf,  the  Fool. 

[Curtain.] 


ACT  II 


! 


ACT  II 

Scene  I.  Sherwood  Forest:  An  open  glade,  showing  on 
the  right  the  mouth  of  the  outlaw's  cave.  It 
is  about  sunset.  The  giant  figure  of  Little 
John  comes  out  of  the  cave,  singing. 

UTTLE   JOHN 

[Sings.'] 
When  Spring  comes  back  to  England 
And  crowns  her  brows  with  may, 
Round  the  merry  moonlit  world 
She  goes  the  greenwood  way. 
[He  stops  and  calls  in  stentorian  tones.] 
Much !     Much !     Much  !     [Where  has  he  vanished  now,  J 
Where  has  that  monstrous  giant  the  miller's  son 
Hidden  himself? 

[Enter  Much,  a  dwarf-lil-e  figure,  carrying  a  large  bundle 
of  ferns.] 

much 

Hush,  hush,  child,  here  I  am! 
And  here's  our  fairy  feather-beds,  ha !  ha ! 
[Come,  praise  me,  praise  me,  for  a  thoughtful  parent.J 
There's  nothing  makes  a  better  bed  than  ferns 
Either  for  sleeping  sound  or  rosy  dreams. 

LITTLE   JOHN 

Take  care  the  fern-seed  that  the  fairies  use 
Get  not  among  thy  yellow  locks,  my  Titan, 
Or  thou'lt  wake  up  invisible.     There's  none 
Too  much  of  Much  already. 

47 


48  SHERWOOD 

MUCH 

\Lodking  up  at  Mm  impudently.'\ 

It  would  take 
Our  big  barn  full  of  fern-seed,  I  misdoubt, 
To  make  thee  walk  invisible,  Little  John, 
[My  sweet  Tom  Thumb !     And,  in  this  troublous  age 
Of  forest-laws,  if  we  night-walking  minions, 
We  gentlemen  of  the  moon,  could  only  hunt 
Invisible,  there's  many  and  many  of  us 
With  thumbs  lopped  off,  eyes  gutted  and  legs  pruned. 
Slick,  like  poor  pollarded  pear-trees,  would  be  lying 
Happy  and  whole  this  day  beneath  the  boughs.] 

LITTLE   JOHN 

Invisible?     Ay,  but  what  would  Jenny  say 
To  such  a  ghostly  midge  as  thou  would'st  be 
Sipping  invisibly  at  her  cherry  lips. 

MUCH 

Why,  there  now,  that's  a  teaser.     [E'en  as  it  is 

(Don't  joke  about  it) 3  my  poor  Jenny  takes 

The  smallness  of  her  Much  sorely  to  heart ! 

And  though  I  often  tell  her  half  a  loaf 

(Ground  in  our  mill)  is  better  than  no  bread, 

She  weeps,  poor  thing,  that  an  impartial  heaven 

Bestows  on  her  so  small  a  crumb  of  bliss 

As  me !     You'd  scarce  believe,  now,  half  the  nostrums, 

[Possets  and  strangely  nasty  herbal  juices]| 

That  girl  has  made  me  gulp,  in  the  vain  hope 

That  I,  the  frog,  should  swell  to  an  ox  like  thee. 

[I  tell  her  it's  all  in  vain,  and  she  still  cheats 

Her  fancy  and  swears  I've  grown  well  nigh  three  feet 

Already.     0  Lord,  she's  desperate.     She'll  advance 

Eight  inward  to  the  sources  of  creation. 

She'll  take  the  reins  of  the  world  in  hand.     She'll  stop 

The  sun  like  Joshua,  turn  the  moon  to  blood, 


SHERWOOD  49 

And  if  I  have  to  swallow  half  the  herbs 
In  Sherwood,  I  shall  stalk  a  giant  yet, 
Shoulder  to  shoulder  with  thee,  Little  John, 
And  crack  thy  head  at  quarter-staff.     But  don't,] 
Don't  joke  about  it.     'Tis  a  serious  matter. 

UTTLE  JOHN 

Into  the  cave,  then,  with  thy  feather-bed. 
Old  Much,  thy  father,  waits  thee  there  to  make 
A  table  of  green  turfs  for  Eobin  Hood. 
We  shall  have  guests  anon,  [0  merry  times. 
Baron  and  Knight  and  abbot,  all  that  ride 
Through  Sherwood,  all  shall  come  and  dine  with  him 
When  they  have  paid  their  toll !     Old  Much  is  there 
Growling  at  thy  delay.] 

MUCH 

[Going  towards  the  cave.'] 

0,  my  poor  father. 
Now,  there's  a  sad  thing,  too.     He's  so  ashamed 
Of  his  descendants.     Why  for  some  nine  years 
He  shut  his  eyes  whenever  he  looked  at  me ; 
f  And  I  have  seen  him  on  the  village  green 
Pretend  to  a  stranger,  once,  who  badgered  him 
With  curious  questions,  that  I  was  the  son 
Of  poor  old  Gaffer  Bramble,  the  lame  sexton. 
That  self-same  afternoon,  up  comes  old  Bramble 
White  hair  a-blaze  and  big  red  waggling  nose 
All  shaking  with  the  palsy;  bangs  our  door 
Clean  off  its  hinges  with  his  crab-tree  crutch, 
And  stands  there  —  framed  —  against  the  sunset  sky ! 
He  stretches  out  one  quivering  fore-finger 
At  father,  like  the  great  Destroying  Angel 
In  the  stained  window :  straight,  the  milk  boiled  over. 
The  cat  ran,  baby  squalled  and  mother  screeched. 
Old  Bramble  asks  my  father  —  what  —  what  —  what 


50  SHERWOOD 

He   meant  —  he  meant  —  he   meant!     You   should  have 

seen 
My  father's  hopeless  face !     Lord,  how  he  blushed, 
Eed  as  a  beet-root !     Lord,  Lord,  how  he  blushed !] 
'Tis  a  hard  business  when  a  parent  looks 
Askance  upon  his  offspring. 

[Exit  into  the  cave.^ 

LITTLE   JOHN 

Skip,  you  chatterer! 
Here  comes  our  master. 

[Enter  Eobin  Hood.] 

Master,  where  hast  thou  been? 
I  feared  some  harm  had  come  to  thee.     What's  this  ? 
This  was  a  cloth-yard  shaft  that  tore  thy  coat ! 

ROBIN 

Oh,  ay,  they  barked  my  shoulder,  devil  take  them. 

I  got  it  on  the  borders  of  the  wood. 

St.  Nicholas,  my  lad,  they're  on  the  watch. 

LITTLE   JOHN 

What  didst  thou  there  ?     They're  on  the  watch,  i'  faith ! 
A  squirrel  could  not  pass  them.     Why,  my  namesake 
Prince  John  would  sell  his  soul  to  get  thy  head. 
And  both  his  ears  for  Lady  Marian; 
[And  whether  his  ears  or  soul  be  worth  the  more, 
I  know  not.     When  the  first  lark  flittered  up 
To  sing,  at  dawn,  I  woke;  and  thou  wast  gone. 
What  didst  thou  there  ?  J 

EOBIN 

Well,  first  I  went  to  swim 
In  the  deep  pool  below  the  mill. 


SHERWOOD  61 

LITTLE   JOHN 

I  swam 
Enough  last  night  to  last  me  many  a  day. 
What  then? 

ROBIiSr 

£1  could  not  wash  away  the  thought 
Of  all  you  told  me.     If  Prince  John  should  dare ! 
That  helpless  girl !     ISTo,  no,  I  will  not  think  it.] 
Why,  Little  John,  I  went  and  tried  to  shoot 
A  grey  goose  wing  thro'  Lady  Marian's  casement. 

LITTLE   JOHN 

Oh,  ay,  and  a  pink  nosegay  tied  beneath  it. 
Now,  master,  you'll  forgive  your  Little  John, — 
But  that's  a  midsummer  madness  [and  the  may 
Is  only  half  in  flower  as  yet.]     But  why  — 
You  are  w^ounded  — ■  why  are  you  so  pale  ? 

ROBIN 

ISTo  —  no  — 
Not  wounded ;  but  oh,  my  good  faithful  friend, 
She  is  not  there !     I  wished  to  send  her  warning. 
I  could  not  creep  much  closer ;  but  I  swear 
I  think  the  castle  is  in  the  hands  of  John. 
I  saw  some  men  upon  the  battlements. 
Not  hers  —  I  know  —  not  hers ! 

LITTLE   JOHN 

Hist,  wlio  comes  here? 
[He  seizes  his  how  and  stands  ready  to  shoot.^ 

KOBIN 

Stop,  man,  it  is  the  fool.     Thank  God,  the  fool, 
Shadow-of-a-Leaf,  my  Marian's  dainty  fool. 
How  now,  good  fool,  what  news?     What  news? 
[Enter  Shadow-of-a-Leaf.] 


53  SHERWOOD 

SHADOW-OF-A-LEAF 

Good  fool! 
Should  I  be  bad,  sir,  if  I  chanced  to  bring 
No  news  at  all?     That  is  the  wise  man's  way. 
Thank  heaven,  I've  lost  my  wits.     I  am  but  a  leaf 
Dancing  upon  the  wild  winds  of  the  world, 
A  prophet  blown  before  them.     [Well,  this  evening, 
It  is  that  lovely  grey  wind  from  the  West 
That  silvers  all  the  fields  and  all  the  seas, 
And  I'm  the  herald  of  May  !J 

ROBIN 

Come,  Shadow-of-a-Leaf, 
I  pray  thee,  do  not  jest. 

SHADOW-OF-A-LEAF 

I  do  not  jest. 
I  am  vaunt-courier  to  a  gentleman, 
A  sweet  slim  page  in  Lincoln  green  who  comes. 
Wood-knife  on  hip,  and  wild  rose  in  his  face, 
With  golden  news  of  Marian.     [Oh,  his  news 
Is  one  crammed  honeycomb,  swelling  with  sweetness 
In  twenty  thousand  cells ;  but  delicate !] 
So  send  thy  man  aside. 

ROBIN 

Go,  Little  John. 
[Little  John  goes  into  the  cave,^ 
Well,  Shadow-of-a-Leaf,  where  is  he? 

SHADOW-OF-A-LEAF 

At  this  moment 
His  hair  is  tangled  in  a  rose  bush :  hark. 
He  swears,  like  a  young  leopard !     Nay,  he  is  free. 


SHERWOOD  53 

Come,  master  page,  here  is  that  thief  of  love. 
Give  him  your  message.     I'll  to  Little  John. 
\^Exit  into  the  cave.     Enter  Marian,  as  a  page  in  Lincoln 
green  her  face  muffled  in  a  hood.} 

ROBIN 

Good  even,  master  page,  what  is  thy  news 
Of  Lady  Marian? 

\_She  stands  silent.l 
Answer  me  quickly,  come, 
Hide  not  thy  face ! 

[She  still  stands  muffled  and  silent.l 

Come,  boy,  the  fool  is  chartered, 
Not  thou ;  and  I'll  break  off  this  hazel  switch 
And  make  thee  dance  if  thou  not  answer  me. 
What?     Silent  still?     Sirrah,  this  hazel  wand 
Shall  lace  thee  till  thou  tingle,  top  to  toe. 
I'll  ... 


Robin ! 


MARIAN 

{Unmuffling.l 

ROBIN 


[Catches  her  in  his  arms  with  a  cry."] 
Marian !     Marian ! 


MARIAN 

Eobin,  you  did  not  know  me. 


Fie  upon  you, 


ROBIN 

[Embracing  her.'] 

Oh,  you  seemed 
Ten  thousand  miles  away.     This  is  not  moonlight, 
And  I  am  not  Endymion.     Could  I  dream 
My  Dian  would  come  wandering  through  the  fern 


54  SHERWOOD 

Before  the  sunset?     [Even  that  rose  your  face 
You  muffled  in  its  own  green  leaves.J 

MARIAN 

But  you. 
Were  hidden  in  the  heart  of  Sherwood,  Eobin, 
[Hidden  behind  a  million  mighty  boughs,] 
And  yet  I  found  you. 

ROBIN 

Ay,  the  young  moon  stole 
In  pity  down  to  her  poor  shepherd  boy ; 
[But  he  could  never  climb  the  fleecy  clouds 
Up  to  her  throne,  never  could  print  one  kiss 
On  her  immortal  lips.     He  lay  asleep 
Among  the  poppies  and  the  crags  of  Latmos, 
And  she  came  down  to  him,  his  queen  stole  down.] 

MARIAN 

Oh,  Eobin,  first  a  rose  and  then  a  moon, 

[A  rose  that  breaks  at  a  breath  and  falls  to  your  feet,] 

The  fickle  moon  —  Oh,  hide  me  from  the  world ; 

[For  there  they  say  love  goes  by  the  same  law ! 

Let  me  be  outlawed  then.     I  cannot  change.] 

Sweetheart,  sweetheart,  Prince  John  will  hunt  me  down ! 

Prince  Jolm  —  Queen  Elinor  will  hunt  me  down ! 

ROBIN 

Queen  Elinor !    *Nay,  but  tell  me  what  this  means  ? 
How  came  you  here  ? 

MARIAN 

The  Queen  —  she  came  last  night, 
[Made  it  an  odious  kind  of  praise  to  me 
That  he,  not  three  months  wedded  to  his  bride, 
Should  —  pah  I 


SHERWOOD  55 

And  thenj  she  said  five  hundred  men 
Were  watching  round  the  borders  of  the  wood ; 
But  she  herself  would  take  me  safely  through  them, 
Said  that  I  should  be  safer  here  with  Eobin, 
She  had  your  name  so  pat  —  and  I  gave  way. 
[Enter  Queen  Elinor  behind.    She  conceals  herself  to 
listen.li 

EOBIN 

Marian,  she  might  have  trapped  you  to  Prince  John. 

MARIAN 

No ;  no ;  I  think  she  wanted  me  to  guide  her 
Here  to  your  hiding  place.     She  wished  to  see  you 
Herself,  unknown  to  John,  I  know  not  why. 
[It  was  my  only  way.     Her  skilful  tongue 
Quite  won  my  father  over,  made  him  think. 
Poor  father,  clinging  to  his  lands  again. 
He  yet  might  save  them.     And  so,  without  ado 
(It  will  be  greatly  to  the  joy  of  Much, 
Your  funny  little  man),]  I  bade  my  maid 
Jenny,  go  pack  her  small  belongings  up 
This  morning,  and  to  follow  with  Friar  Tuck 
And  Widow  Scarlet.     They'll  be  here  anon. 

ROBIN 

Where  did  you  leave  the  Queen  ? 

MARIAN 

Eobin,  she  tried 
To  kill  me !     We  were  deep  within  the  wood 
And  she  began  to  tell  me  a  wild  tale, 
Saying  that  I  reminded  her  of  days 
When  Eobin  was  her  page,  and  how  you  came 
To  Court,  a  breath  of  April  in  her  life. 
And  how  you  worshipped  her,  and  how  she  grew 
To  love  you.     But  she  saw  you  loved  me  best 


56  SHERWOOD 

£(So  would  she  mix  her  gall  and  lies  with  honey),] 
So  she  would  let  you  go.     And  then  she  tried 
To  turn  my  heart  against  you,  bade  me  think 
Of  all  the  perils  of  your  outlawry, 
Then  flamed  with  anger  when  she  found  my  heart 
Steadfast ;  and  when  I  told  her  we  drew  nigh 
The  cave,  she  bade  me  wait  and  let  her  come 
First,  here,  to  speak  with  you.     [Some  devil's  trick 
Gleamed  in  her  smile,  the  way  some  women  have 
Of  smiling  with  their  lips,  wreathing  the  skin 
In  pleasant  ripples,  laughing  with  their  teeth, 
While  the  cold  eyes  watch,  cruel  as  a  snake's 
That  fascinates  a  bird.]     I'd  not  obey  her. 
She  whipped  a  dagger  out.     Had  it  not  been 
For  Shadow-of-a-Leaf,  who  dogged  us  all  the  way, 
Poor  faithful  fool,  and  leapt  out  at  her  hand. 
She  would  have  killed  me.     Then  she  darted  away 
Like  a  wild  thing  into  the  woods,  trying  to  find 
Your  hiding  place  most  like. 

ROBIN 

0  Marian,  why. 
Why  did  you  trust  her  ?     Listen,  who  comes  here  ? 

[Enter  Friar  Tuck,  Jenny  and  Widow  Scarlet.] 
Ah,  Friar  Tuck ! 

MARIAN 

Good  Jenny ! 

ROBIN 

And  Widow  Scarlet! 

FRIAR  TUCK 

0  children,  children,  this  is  thirsty  weather! 

The  heads  I  have  cracked,  the  ribs  I  have  thwacked,  the 
bones 

1  have  bashed  with  my  good  quarter-staif,  to  bring 
These  bits  of  womankind  through  Sherwood  Forest. 


SHERWOOD  57 

ROBIN 

What,  was  there  scuffling,  friar  ? 

FRIAR  TUCK 

Some  two  or  three 
Pounced  on  us,  ha!  ha!  ha! 

JENNY 

A  score  at  least. 
Mistress,  [most  unchaste  ruffians.J 

PRIAR  TUCK 

They've  gone  home, 
Well  chastened  by  the  Church.     This  pastoral  staff 
Mine  oaken  Pax  Vohiscum,  sent  'em  home 
[To  think  about  their  sins,  with  watering  eyes. 
You  never  saw  a  bunch  of  such  blue  faces, 
Bumpy  and  juicy  as  a  bunch  of  grapes 
Bruised  in  a  Bacchanalian  orgy,  dripping 
The  reddest  wine  a  man  could  wish  to  see.] 

ROBIN 

I  picture  it  —  those  big  brown  hands  of  thine 
[Grape-gathering  at  their  throttles,  ha !  ha  !  ha !  J 
Come,  Widow  Scarlet,  come,  look  not  so  sad. 

WIDOW   SCARLET 

0  master,  master,  they  have  named  the  day 
For  killing  of  my  boy. 

ROBIN 

They  have  named  the  day 
For  setting  of  him  free,  then,  my  good  dame. 
Be  not  afraid.     We  shall  be  there,  eh.  Friar? 
[Grape-gathering,  eh?] 


58  SHERWOOD 

FRIAR   TUCK 

Thou'lt  not  be  there  thyself 
My  son,  the  game's  too  dangerous  now,  methinks. 

ROBIN 

I  shall  be  there  myself.     The  game's  too  good 
To  lose.     We'll  all  be  there.     You're  not  afraid, 
Marian,  to  spend  a  few  short  hours  alone 
Here  in  the  woods  with  Jenny. 


MARIAN 

Robin. 


Not  for  myself, 


ROBIN 

We  shall  want  every  hand  that  day. 
And  you'll  be  safe  enough.     You  know  we  go 
Disguised  as  gaping  yokels,  old  blind  men. 
With  patches  on  their  eyes,  poor  wandering  beggars, 
[Pedlars  with  pins  and  poking-sticks  to  sell;] 
And  when  the  time  is  come  — <  a  merry  blast 
Eings  out  upon  a  bugle  and  suddenly 
The  Sheriff  is  aware  that  Sherwood  Forest 
Has  thrust  its  green  boughs  up  beneath  his  feet. 
Off  go  the  cloaks  and  all  is  Lincoln  green, 
[Great  thwacking  clubs  and  twanging  bows  of  yew. 
Oh,  we  break  up  like  nature  thro'  the  laws 
Of  that  dark  world;  and  then,  good  Widow  Scarlet, 
Back  to  the  cave  we  come  and  your  good  Will 
Winds  his  big  arm  about  you  once  again.J 
Go,  Friar,  take  her  in  and  make  her  cosy. 
Jenny,  your  Much  will  grow  three  feet  at  least 
With  joy  to  welcome  you.     He  is  in  the  cave. 
[Friar  Tuck  and  Widow  Scarlet  go  towards  the  cave.'] 

FRIAR   TUCK 

Now  for  a  good  bowse  at  a  drinking  can. 


SHERWOOD  59 


I've  got  one  cooling  in  the  cave,  unless 
That  rascal,  Little  John,  has  drunk  it  all. 
[Exeunt  into  cave.^ 

JENNY 

[To  Maeian.] 
Mistress,  I  haven't  spoke  a  word  to  you 
For  nigh  three  hours.     'Tis  most  unkind,  I  think. 

MARIAN 

Go,  little  tyrant,  and  be  kind  to  Much. 

JENNY 

Mistress,  it  isn't  Much  I  want.     Don't  think 
Jenny  comes  trapesing  through  these  awful  woods 
For  Much.     I  haven't  spoke  a  word  with  you 
For  nigh  three  hours.     'Tis  most  unkind,  I  think. 

MARIAN 

Wait,  Jenny,  then,  I'll  come  and  talk  with  you. 
Eobin,  she  is  a  tyrant ;  but  she  loves  me. 
[And  if  I  do  not  go,  she'll  pout  and  sulk 
Three  days  on  end.     But  she's  a  wondrous  girl. 
She'd  work  until  she  dropped  for  me.    'Poor  Jenny !] 

ROBIN 

[That's  a  quaint  tyranny.]     Go,  dear  Marian,  go; 

But  not  for  long.     We  have  so  much  to  say. 

Come  quickly  back. 

[Exit  Marian.     Egbin  paces  thoughtfully  across  the  glade. 

Queen  Elinor  steals  out  of  her  hiding  place  and 

stands  before  him.^ 

You  here ! 

ELINOR 

Eobin,  can  you 
Believe  that  girl?     Am  I  so  treacherous? 


60  SHERWOOD 

EOBIN 

It  seems  you  have  heard  whate'er  I  had  to  say. 

ELINOK 

Surely  you  cannot  quite  forget  those  days 

When  you  were  kind  to  me.     Do  you  remember 

The  sunset  through  that  oriel? 

EOBIN 

Ay,  a  god 
Grinning  thro'  a  horse-collar  at  a  pitiful  page. 
Dazed  with  the  first  red  gleam  of  what  he  thought 
Life,  as  the  trouveres  find  it!     I  am  ashamed, 
Eemembering  how  your  quick  tears  blinded  me! 

ELINOK 

Ashamed!     You  —  you  —  that  in   my  bitter  grief 
When  Rosamund  — 

EOBIN 

I  know!     I  thought  your  woes. 
Those  tawdry  relics  of  your  treacheries. 
Wrongs  quite  unparalleled.     I  would  have  fought 
Eoland  himself  to  prove  you  spotless  then. 

ELINOR 

Oh,  you  speak  thus  to  me!     Eobin,  beware! 

I  have  come  to  you,  I  have  trampled  on  my  pride. 

Set  all  on  this  one  cast !     If  you  should  now 

Reject  me,  humble  me  to  the  dust  before 

That  girl,  beware!     I  never  forget,  I  warn  you; 

I  never  forgive. 

EOBIN 

Are  you  so  proud  of  that  ? 


SHERWOOD  61 

ELINOR 

Ah,  well,  forgive  me,  Robin.     I'll  save  you  yet 
From  all  these  troubles  of  your  outlawry ! 
Trust  me  —  for  I  can  wind  my  poor  Prince  John 
Around  my  little  finger.     Who  knows  —  [with  me 
To  help  you  —  there  are  but  my  two  sons'  lives 
That  greatly  hinder  it  J —  why,  yourself  might  reign 
Upon  the  throne  of  England. 

EOBIN 

Are  you  so  wrapped 
In  treacheries,  helplessly  false,  even  to  yourself, 
That  now  you  do  not  know  falsehood  from  truth, 
Darkness  from  light? 

ELINOR 

0  Eobin,  I  was  true 
At  least  to  you.     If  I  were  false  to  others, 
At  least  I  — 

ROBIN 

No  —  not  that — [that  sickening  plea 
Of  truth  in  treachery.]     Treachery  cannot  live 
With  truth.     The  soul  wherein  they  are  wedded  dies 
Of  leprosy. 

ELINOR 

Incoming  closer  to  Mm.'] 

Have  you  no  pity,  Eobin, 
No  kinder  word  than  this  for  the  poor  creature 
That  crept  —  Ah,  feel  my  heart,  feel  how  it  beats! 
No  pity? 

[robin 

Five  years  ago  this  might  have  moved  me ! 

ELINOR 

No  pity?] 


G3  SHERWOOD 

ROBIN 

None.     There  is  no  more  to  say. 
My  men  shall  guide  you  safely  through  the  wood. 

ELINOR 

I  never  forgive! 

\_Enter  Marian   from   the   cave;  she  stands  silent  and 
startled.^ 

ROBIN 

My  men  shall  guide  you  back. 
\_Galls.'\ 
Ho,  there,  my  lads ! 

[^Enter  several  of  the  Outlaws.] 

This  lady  needs  a  guide 
Back  thro'  the  wood. 

ELINOR 

Good-bye,  then,  Robin,  and  good-bye  to  you, 
Sweet  mistress !     You  have  wronged  me !     What  of  that  ? 
For  —  when  we  meet  —  Come,  lead  on,  foresters ! 
[Exeunt  the  Queen  and  her  guides.'] 

MARIAN 

0  Robin,  Robin,  how  the  clouds  begin 

To  gather  —  how  that  woman  seems  to  have  brought 

A  nightmare  on  these  woods. 

ROBIN 

Forget  it  all! 
She  is  so  tangled  in  those  lies  the  world 
Draws  round  some  men  and  women,  none  can  help  her. 
[Marian,  for  God's  sake,  let  us  quite  forget 
That  nightmare !     Oh,  that  perfect  brow  of  yours, 
Those  perfect  eyes,  pure  as  the  violet  wells 
That  only  mirror  heaven  and  are  not  dimmed 


SHERWOOD  63 

Except  by  clouds  that  drift  thro'  heaven  and  catch 
God's  glory  in  the  sunset  and  the  dawn. J 

MARIAN 

[It  is  enough  for  them  simply  to  speak 
The  love  they  hold  for  you.]     But  —  I  still  fear. 
Eobin  —  think  you  —  she  might  have  overheard 
Your  plan  —  the  rescue  of  Will  Scarlet? 

ROBIN 

Why  — 
No  —  No  —  some  time  had  passed,  [and  yet  — ■  she  seemed 
To  have  heard  your  charge  against  her !     No,  she  guessed 

it.] 
Come  —  let  us  brush  these  cobwebs  from  our  minds, 
[Look  how  the  first  white  star  begins  to  tremble 
Like  a  big  blossom  in  that  sycamore.] 
Now  you  shall  hear  our  forest  ritual. 
Ho,  Little  John !     Summon  the  lads  together ! 
[The  Outlaws  come  out  of  the  cave.     Little  John  blows 

a  bugle  and  others  come  in  from  the  forest.^ 
Friar,  read  us  the  rules. 

friar  tuck 

First,  shall  no  man 
Presume  to  call  our  Eobin  Hood  or  any 
By  name  of  Earl,  lord,  baron,  knight  or  squire. 
But  simply  by  their  names  as  men  and  brothers : 
Second,  that  Lady  Marian  while  she  shares 
Our  outlaw  life  in  Sherwood  shall  be  called 
Simply  Maid  Marian.     Thirdly,  we  that  follow 
Eobin,  shall  never  in  thought  or  word  or  deed 
Do  harm  to  widow,  wife  or  maid ;  [but  hold, 
Each,  for  his  mother's  or  sister's  or  sweetliearfs  sake, 
The  glory  of  womanhood,  a  sacred  thing, 
A  star  twixt  earth  and  heaven.]     Fourth,  whomsoever 
Ye  meet  in  Sherwood  ye  shall  bring  to  dine 


64  SHERWOOD 

With  Eobin,  [saving  carriers,  posts  and  folk 
That  ride  with  food  to  serve  the  market  towns 
Or  any,  indeed,  that  serve  their  fellow  men.J 
Fifth,  you  shall  never  do  the  poor  man  wrong, 
Nor  spare  a  priest  or  usurer.     You  shall  take 
The  waste  wealth  of  the  rich  to  help  the  poor, 
[The  baron's  gold  to  stock  the  widow's  cupboard,J 
The  naked  ye  shall  clothe,  the  hungry  feed. 
And  lastly  shall  defend  with  all  your  power 
All  that  are  trampled  under  by  the  world. 
The  old,  the  sick  and  all  men  in  distress. 

EOBIN 

So,  if  it  be  no  dream,  we  shall  at  last 
Hasten  the  kingdom  of  God's  will  on  earth. 
There  shall  be  no  more  talk  of  rich  and  poor, 
Norman  and  Saxon.     We  shall  be  one  people. 
One  family,  clustering  all  with  happy  hands 
And  faces  round  that  glowing  hearth,  the  sun. 
Now  let  the  bugle  sound  a  golden  challenge 
To  the  great  world.     Greenleaf,  a  forest  call! 

[Eeynold  Greenleaf  blows  a  resounding  call.'\ 
Now  let  the  guards  be  set ;  and  then,  to  sleep ! 
To-morrow  there'll  be  work  enough  for  all. 
The  hut  for  Jenny  and  Maid  Marian ! 
Come,  you  shall  see  how  what  we  lack  in  halls 
We  find  in  bowers.     Look  how  from  every  branch 
Such  tapestries  as  kings  could  never  buy 
Wave  in  the  starlight.     You'll  l)e  waked  at  dawn 
By  feathered  choirs  whose  notes  were  taught  in  heaven. 

MUCH 

Come,  Jenny,  come,  we  must  prepare  the  hut 
For  Mistress  Marian.     Here's  a  bundle  of  ferns! 
{They  go  into  the  hut.     The  light  is  growing  dimmer  and 
richer.^ 


SHERWOOD  65 

[little  JOHN 

And  here's  a  red  cramoisy  cloak,  a  baron 

[Handing  them  in  at  the  door.'] 
Dropt,  as  he  fled  one  night  from  Robin  Hood ; 
And  here's  a  green,  and  here's  a  midnight  blue, 
All  soft  as  down.     But  wait,  I'll  get  you  more. 
[Two  of  the  Outlaws  appear  at  the  door  with  deerskins. 

Shadow-of-a-Leaf  stands  behind  them  with  a  great 

hunch  of  flowers  and  ferns.] 

FIRST  outlaw 
Here's  fawn-skins,  milder  than  a  maiden's  cheek. 

shadow-of-a-leaf 

Oh,  you  should  talk  in  rhyme !     The  world  should  sing 
Just  for  this  once  in  tune,  if  Love  were  king! 

second  outlaw 
Here's  deer-skins,  for  a  carpet,  smooth  and  meek.] 

shadow-of-a-leaf 

[I  knew  you  would!]     Ha!  ha!     Now  look  at  what  I 

bring ! 
[He  throws  flowers  into  the  hut,  spray  hy  spray,  speaking 

in  a  kind  of  ecstasy.] 
Here's  lavender  and  love  and  sweet  wild  thyme, 
And  dreams  and  blue-bells  that  the  fairies  chime, 
Here's  meadow-sweet  and  moonlight,  bound  in  posies, 
With  ragged  robin,  traveller's  joy  and  roses. 
And  here  —  just  three  leaves  from  a  weeping  willow ; 
And  here  —  that's  best  —  deep  poppies  for  your  pillow. 

much 

And  here's  a  pillow  that  I  made  myself, 

StufPed  with  dry  rose-leaves  and  grey  pigeon's  down, 

The  softest  thing  on  earth  except  my  heart! 


66  SHERWOOD 

SHADOW-OF-A-LEAF 

[Going  aside  and  throwing  himself  down  among  the  ferns 

to  watch.'] 
[[Just  three  sweet  breaths  and  then  the  song  is  flown !] 
[Much  holes  at  him  for  a  moment  with  a  puzzled  face, 

then  turns  to  the  hut  again.] 

MUCH 

Jenny,  here,  take  it  —  though  I'm  fond  of  comforts. 
Take  it  and  give  it  to  Maid  Marian. 

JENNY 

Why,  Much,  'tis  bigger  than  thyself. 

MUCH 

Hush,  child. 
I  meant  to  use  it  lengthways.     'Twould  have  made 
A  feather-bed  complete  for  your  poor  Much, 
Take  it ! 

[The  Outlaws  all  go  into  the  cave.'] 

MAEIAN 

0  Eobin,  what  a  fairy  palace! 
How  cold  and  grey  the  walls  of  castles  seem 
Beside  your  forest's  fragrant  halls  and  bowers. 
I  do  not  think  that  I  shall  be  afraid 
To  sleep  this  night,  as  I  have  often  been 
Beneath  our  square  bleak  battlements. 

ROBIN 

And  look, 
Between  the  boughs,  there  is  your  guard,  all  night. 
That  great  white  star,  white  as  an  angel's  wings. 
White  as  the  star  that  shone  on  Bethlehem! 
Good-night,  sweetheart,  good-night ! 

MARIAN 

Good-night ! 


SHERWOOD  ey 

[robin 

One  kiss! 

Oh,  clear  bright  eyes,  dear  heavens  of  sweeter  stars, 

Where  angels  play,  and  your  own  sweeter  sor.l 

Smiles  like  a  child  into  the  face  of  God, 

Good-night !     Good-night !  J 

[Marian  goes  into  the  hut.  The  door  is  shut.  Eobin 
goes  to  the  mouth  of  the  cave  and  throws  himself 
down  on  a  couch  of  deerskins.  The  light  grows 
dimly  rich  and  fairy-like.'] 

SHADOW-OF-A-LEAP 

l^Rising  to  his  knees.'] 

Here  comes  the  little  cloud! 
[A  little  moonlit  cloud  conies  floating  down  between  the 
tree-tops  into  the  glade.     Titania  is  seen  reposing 
upon   it.    She   steps   to   earth.     The   cloud   melts 
away.] 
How  blows  the  wind  from  fairyland,  Titania? 

titania 
Shadow-of-a-Leaf,  the  wicked  queen  has  heard 
Your  master's  plan  for  saving  poor  Will  Scarlet. 
She  knows  Maid  Marian  will  be  left  alone. 
Unguarded  in  these  woods.     The  wicked  Prince 
Will  steal  upon  her  loneliness.     He  plots 
To  carry  her  away. 

SHADOW-OF-A-LEAF 

What  can  we  do? 
Can  I  not  break  my  fairy  vows  and  tell? 

TITANIA 

No,  no;  you  cannot,  even  if  you  would, 
Convey  our  fairy  lore  to  mortal  ears. 
fWhen  have  they  heard  our  honeysuckle  bugles 
Blowing  reveille  to  the  crimson  dawn? J 


ea  SHERWOOD 

We  can  but  speak  by  dreams ;  and,  if  you  spoke, 
They'd  whip  you,  for  your  words  would  all  ring  false 
Like  sweet  bells  out  of  tune. 

SHADOW-OF-A-LEAF 

What  can  we  do? 

TITANIA 

Nothing,  except  on  pain  of  death,  to  stay 

The  course  of  Time  and  Tide.     There's  Oberon! 

SHADOW-OF-A-LEAF 

Oberon ! 

TITANIA 

He  can  tell  you  more  than  I. 
[Enter  Oberon.] 

OBERON 

Where's  Orchis?    Where's  our  fairy  trumpeter 
To  call  the  court  together? 

ORCHIS 

Here,  my  liege. 

OBERON 

Bugle  them  hither;  [let  thy  red  cheeks  puff 

Until  thy  curled  petallic  trumpet  thrill 

More  loudly  than  a  yellow-banded  bee 

Thro'  all  the  clover  clumps  and  boughs  of  thyme. 

They  are  scattered  far  abroad.] 

ORCHIS 

My  liege,  it  shall 
Outroar  the  very  wasp! 

[Exit.] 


SHERWOOD  69 

OBERON" 

[[As  he  speaks^  the  fairies  come  floclcing  from  all  sides 
into  the  glade.'} 

[Methinks  they  grow 
Too  fond  of  feasting.     As  I  passed  this  way 
I  saw  the  fairy  halls  of  hollowed  oaks 
All  lighted  with  their  pale  green  glow-worm  lamps. 
And  under  great  festoons  of  maiden-hair 
Their  brilliant  mushroom  tables  groaned  with  food. 
Hundreds  of  rose-winged  fairies  banqueted! 
All  Sherwood  glittered  with  their  prismy  goblets 
Brimming  the  thrice  refined  and  luscious  dew 
Not  only  of  our  own  most  purplest  violets, 
But  of  strange  fragrance,  wild  exotic  nectars. 
Drawn  from  the  fairy  blossoms  of  some  star 
Beyond  our  tree-tops !     Ay,  beyond  that  moon 
Which  is  our  natural  limit  —  the  big  lamp 
Heaven  lights  upon  our  boundary.J 

ORCHIS 

Mighty  King, 
The  Court  is  all  attendant  on  thy  word. 

OBERON 

[With  great  dignity.'] 
[Elves,  pixies,  nixies,  gnomes  and  leprechauns,] 

[He  pauses.'] 
We  are  met,  this  moonlight,  for  momentous  councils 
Concerning  those  two  drowsy  human  lovers. 
Maid  Marian  and  her  outlawed  Eobin  Hood. 
They  are  in  dire  peril;  yet  we  may  not  break 
Our  vows  of  silence.     [Many  a  time 
Has  Eobin  Hood  by  kindly  words  and  deeds 
Done  in  his  human  world,  sent  a  new  breath 
Of  life  and  joy  like  Spring  to  fairyland; 
And  at  the  moth-hour  of  this  very  dew-fall. 
He  saved  a  fairy,  whom  he  thought,  poor  soul. 


70  SHERWOOD 

Only  a  may-fly  in  a  spider's  web, 
He  saved  her  from  the  clutches  of  that  Wizard, 
That  Cruel  Thing,  that  dark  old  Mystery, 
Whom  ye  all  know  and  shrink  from  — 

[^Exclamations  of  Jiorror  from  the  fairies.'] 

Plucked  her  forth, 
So  gently  that  not  one  bright  rainbow  gleam 
Upon  her  wings  was  clouded,  not  one  flake 
Of  bloom  brushed  off  —  there  lies  the  broken  web. 
Go,  look  at  it;  and  here  is  pale  Perilla 
To  tell  you  all  the  tale. 

[The  fairies  cluster  to  look  at  the  weh,  efc.]] 

A    FAIRY 

Can  we  not  make  them  free 
Of  fairyland,  like  Shadow-of-a-Leaf,  to  come 
And  go,  at  will,  upon  the  wings  of  dreams? 

OBERON 

Not  till  they  lose  their  wits  like  Shadow-of-a-Leaf. 

SHADOW-OF-A-LEAF 

Can  I  not  break  my  fairy  vows  and  tell? 

OBERON 

Only  on  pain  of  what  we  fairies  call 
Death ! 

SHADOW-OF-A-LEAP 

Death? 

OBERON 

Never  to  join  our  happy  revels, 
Never  to  pass  the  gates  of  fairyland 
Again,  but  die  like  mortals.     What  that  means. 
We  do  not  know — 'who  knows? 


SHERWOOD  71 

SHADOW-OF-A-LEAF 

If  I  could  save  them !  — 
I  am  only  Shadow-of-a-Leaf ! 

OBEEON 

There  is  a  King 
Beyond  the  seas.     If  he  came  home  in  time. 
All  might  be  well.     [We  fairies  only  catch 
Stray  gleams,  wandering  shadows  of  things  to  come.J 

TITANIA 

Oh,  if  the  King  came  home  from  the  Crusade! 

SHADOW-OF-A-LEAF 

Why  will  he  fight  for  graves  beyond  the  sea? 

OBEEOlSr 

Our  elfin  couriers  brought  the  news  at  dusk 

That  Lion-Heart,  while  wandering  home  thro'  Europe, 

In  jet-black  armour,  like  an  errant  knight. 

Despite  the  great  red  cross  upon  his  shield. 

Was  captured  by  some  wicked  prince  and  thrust 

Into  a  dungeon.     Only  a  song,  they  say, 

Can  break  those  prison-bars.     There  is  a  minstrel 

That  loves  his  King.     If  he  should  roam  the  world 

Singing  until  from  that  dark  tower  he  hears 

The  King  reply,  the  King  would  be  set  free. 

TITANIA 

Only  a  song,  only  a  minstrel  ? 

OBEEON" 

Ay; 
And  Blondel  is  his  name. 

[A  long,  low  sound  of  wailing  is  heard  in  the  distance. 
The  fairies  shudder  and  creep  together.'] 


72  SHERWOOD 

TITANTA 

Hark,  what  is  that? 

OBEEON 

The  cry  of  the  poor,  the  cry  of  the  oppressed. 

The  sound  of  women  weeping  for  their  children, 

The  victims  of  the  forest  laws.     The  moan 

Of  that  dark  world  where  mortals  live  and  die 

Sweeps  like  an  icy  wind  thro'  fairyland. 

[And  oh,  it  may  grow  bitterer  yet,  that  sound! 

'Twas  Merlin's  darkest  prophecy  that  earth 

Should  all  be  wrapped  in  smoke  and  fire,  the  woods 

Hewn  down,  the  flowers  discoloured  and  the  sun 

Begrimed,  until  the  rows  of  lifeless  trees 

Against  the  greasy  sunset  seemed  no  more 

Than  sooty  smudges  of  an  ogre's  thumbs 

Upon  the  sweating  forehead  of  a  slave. 

While,  all  night  long,  fed  with  the  souls  of  men. 

And  bodies,  too,  great  forges  blast  and  burn 

Till  the  great  ogre's  cauldrons  brim  with  gold.] 

[The  wailing  sound  is  heard  again  in  the  distance.'] 

SHADOW-OF-A-LEAF 

To  be  shut  out  for  ever,  only  to  hear 
Those  cries!     I  am  only  Shadow-of-a-Leaf,  the  fool, 
I  cannot  face  it !     Is  there  no  hope  but  this  ? 
No  hope  for  Eobin  and  Maid  Marian? 

OBERON 

If  the  great  King  comes  home  from  the  Crusade 
In  time !     If  not, —  there  is  another  King 
Beyond  the  world,  they  say. 

SHADOW-OF-A-LEAF 

Death,  that  dark  death! 
To  leave  the  sunlight  and  the  flowers  for  ever! 
I  cannot  bear  it!     Oh,  I  cannot  tell  them. 


SHERWOOD  73 

I'll  wait  —  perhaps  the  great  King  will  come  home, 
If  not  —  Oh,  hark,  a  wandering  minstrel's  voice  ? 

OBERON 

Who  is  drawing  hither?     Listen,  fairies,  listen! 
[Song  heard  appi'aaching  thro'  the  wood.'\ 

Knight  on  the  narrow  way. 

Where  wouldst  thou  ride? 
"  Onward,"  I  heard  him  say, 

"  Love,  to  thy  side !  " 

"  Nay,"  sang  a  bird  above ; 

"  Stay,  for  I  see 
Death  in  the  mask  of  love. 

Waiting  for  thee." 

[The  song  hreaks  off.  Enter  a  Minstrel,  leading  a  great 
white  steed.  He  pauses,  confronted  by  the  fairy 
host.    The  moonlight  dazzles  him.^ 

SHADOW-OF-A-LEAF 

Minstrel,  art  thou,  too,  free  of  fairyland? 
Where  wouldst  thou  ride  ?    What  is  thy  name  ? 


My  name 


MINSTREL 

Is  Blondel. 

SHADOW-OF-A-LEAF 

Blondel ! 

THE   FAIRIES 

Blondel ! 

MINSTREL 

And  I  ride 

Through  all  the  world  to  seek  and  find  my  King! 


U  SHERWOOD 

\_He  passes  through  the  fairy  host  and  goes  inio  the  woods 
on  the  further  side  of  the  glade,  continuing  his 
song,  which  dies  away  in  the  distance.'\ 

[Song.] 

"Death?    What  is  death?"  he  cried. 

"  I  must  ride  on, 
On  to  my  true  love's  side, 

Up  to  her  throne !  " 

[Cwrtow.] 


ACT  III 


ACT  III 

Scene  I.  May-day.  An  open  place  (near 'Rotti^gb. am)  . 
A  crowd  of  rustics  and  towfisfolh  assembling  to  see 
the  execution  of  Will  Scarlet. 

FIRST   RUSTIC 

A  sad  may-day !     Where  yonder  gallows  glowers, 
We  should  have  raised  the  may-pole. 

SECOND  RUSTIC 

Ay,  no  songs, 
No  kisses  in  the  ring,  no  country  dances 
To-day;  [no  lads  and  lasses  on  the  green, 
Crowning  their  queen  of  may.] 

[Enter  Robin  Hood,  disguised  as  an  old  beggar,  with  a 
green  patch  on  one  eye.'] 

robin 

Is  this  the  place. 
Masters,  where  they're  a-goin'  to  hang  Will  Scarlet? 

first  rustic 
Ay,  father,  more's  the  pity. 

ROBIN 

Eh !     Don't  ye  think 
There  may  be  scuffling,  masters?     [There's  a  many 
That  seems  to  like  him  well,  here,  roundabouts. 

second   RUSTIC 

Too  many  halberts  round  him.     There's  no  chance. 

77 


78  SHERWOOD 

ROBIN 

I've  heard  the  forest  might  break  out,  the  lads 
In  Lincoln  green,  you  wot  of!     If  they  did? J 

FIRST  RUSTIC 

There's  many  here  would  swing  a  cudgel  and  help 
To  trip  the  Sheriff  up.     If  Eobin  Hood 
Were  only  here !     But  then  he's  outlawed  now. 

[second  rustic 

Ay,  and  there's  big  rewards  out.     It  would  be 
Sure  death  for  him  to  try  a  rescue  now. 
The  biggest  patch  of  Lincoln  Green  we'll  see 
This  day,  is  that  same  patch  on  tliy  old  eye. 
Eh,  lads!] 

third  rustic 

What's  more,  they  say  Prince  John  is  out 
This  very  day,  scouring  thro'  Sherwood  forest 
In  quest  of  Lady  Marian! 


ROBIN 

\_Sharply.'\ 


You  heard  that  ? 


third  rustic 

Ay,  for  they  say  she's  flown  to  Sherwood  forest. 

SECOND   RUSTIC 

[Ah!     Ah?     That's  why  he  went.]     I  saw  Prince  John! 
With  these  same  eyes  I  saw  him  riding  out 
To  Sherwood,  not  an  hour  ago. 

ROBIN 

You  saw  him? 


SHERWOOD  79 

SECOND  RUSTIC 

Ay,  and  he  only  took  three  men  at  arms. 

FIRST  RUSTIC 

Three  men  at  arms !     Why  then,  he  must  ha'  known 
That  Eobin'g  men  would  all  be  busy  here ! 
[He's  none  so  bold,  he  would  not  risk  his  skin!] 
I  think  there'll  be  some  scuffling  after  all. 

ROBIN 

Ay,  tell  'em  so  —  go,  spread  it  thro'  the  crowd ! 

[He  mutters  to  himself.] 
[He'd  take  some  time,  to  find  her,  but  'fore  God 
We  must  be  quick;  'fore  God  we  must  be  quick! 

SECOND  RUSTIC 

^Vlly,  father,  one  would  never  think  to  see  thee 
Thou  had'st  so  sound  a  heart! J 

FIRST   RUSTIC 

Ah,  here  they  come! 
The  Sheriff  and  his  men;  and,  in  the  midst, 
There's  poor  Will  Scarlet  bound. 

THE   CROWD  MURMURS 

Ah,  here  they  come! 
Look  at  the  halberts  shining!     Can  you  see  him? 

FIRST   RUSTIC 

There,  there  he  is.     His  face  is  white :  but.  Lord, 
He  takes  it  bravely. 

SECOND  RUSTIC 

He's  a  brave  man.  Will. 

SHERIFF 

Back  with  the  crowd  there,  guards ;  delay  no  time ! 


80  SHERWOOD 

[some  women  in  the  crowd 
Ah,  ah,  poor  lad!] 

ROBIN 

[Eagerly.'] 

What  are  they  doing  now  ? 
I  cannot  see! 

[first  rustic 
The  Sheriff's  angered  now! 

SECOND   rustic 

Ay,  for  they  say  a  messenger  has  come 

From  that  same  godless  hangman  whose  lean  neck 

I'd  like  to  twist,  saying  he  is  delayed. 

'Tis  the  first  godly  deed  he  has  ever  done.J 

third  rustic 

The  Sheriff  says  he  will  not  be  delayed. 
But  who  will  take  the  hangman's  office? 

robin 

Masters, 
I  have  a  thought ;  make  way ;  let  me  bespeak 
The  Sheriff! 

rustics 

How  now,  father,  what's  to  do? 

ROBIN 

Make  way,  I  tell  you.     Here's  the  man  they  want! 

SHERIFF 

What's  this? 

ROBIN 

Good  master  Sheriff,  I've  a  grudge 
Against  Will  Scarlet.     Let  me  have  the  task 
Of  sending  him  to  heaven! 


SHERWOOD  81 

[crowd 

Ah-h-h,  the  old  devil!] 

\ 

SHEEIEF 

Come  on,  then,  and  be  brief ! 

ROBIN 

I'm  not  a  hangman ; 
But  I  can  cleave  your  thinnest  hazel  wand 
At  sixty  yards. 

SHERIFF 

Shoot,  then,  and  make  an  end. 
Make  way  there,  clear  the  way! 

\^An  opening  is  made  in  the  crowd.     Egbix  stands  in  the 
gap.  Will  Scarlet  is  not  seen  hg  the  audience.l 

[crowd 

Ah-h-h,  the  old  devil !] 

ROBIN 

I'll  shoot  him  one  on  either  side,  just  graze  him. 

To  show  you  how  I  love  him ;  then  the  third 

Slick  in  his  heart. 

[He  shoots.     A  murmur  goes  up  from  the  crowd.     The 

crowd  hides  Will   Scarlet  during   the  shooting. 

But  EoBiN  remains  in  full  view,  in  the  opening.'\ 

SHERIFF 

[Angrily.] 
Take  care !     You've  cut  the  cord 
That  bound  him  on  that  side! 

ROBIN 

Then  here's  the  second ! 
I  will  be  careful ! 

[He  takes  a  steady  aim.] 


82  SHERWOOD 

A  RUSTIC  TO  HIS  NEIGHBOURS 

I'  faith,  lads,  he  can  shoot ! 
[What  do  you  think  —  that  green  patch  on  his  eye 
Smacks  of  the  merry  men !     He's  tricking  them !] 
[KoBiN   shoots.    A    louder    murmur   goes   up   from    the 
crowd.'] 

SHERIFF 

You  have  cut  the  rope  again ! 

A   CRY 

He  has  cut  him  free ! 

ROBIN 

All  right !     All  right !     It's  just  to  tease  the  dog ! 
Here's  for  the  third  now! 

[He  aims  and  shoots  quickly.     There  is  a  loud  cry  of  a 
wounded  man;  then  a  shout  from  the  crowd.] 

CROWD 

Ah-h-h,  he  has  missed;  he  has  killed 
One  of  the  guards ! 

FIRST  RUSTIC 

What  has  he  done? 


He  has  killed 


SECOND  RUSTIC 

One  of  the  Sheriff's  men ! 

SHERIFF 

There's  treachery  here ! 
I'll  cleave  the  first  man's  heart  that  moves ! 

ROBIN 

Will  Scarlet, 
Pick  up  that  dead  man's  halbert ! 


SHERWOOD  83 

SHEEIFF 

Treachery !    Help ! 
Down  with  the  villain ! 

ROBIN 

^Throws  off  Ms  beggar's  crouch  and  hurls  the  Sheriff 
and  several  of  his  men  hack  amongst  the  crowd.  His 
cloak  drops  off.] 

Sherwood!     A  merry  Sherwood! 

RUSTICS 

Ah!  ha!     The  Lincoln  Green!     A  Eobin  Hood! 

[A  ingle  rings  out  and  immediately  some  of  the  yokels 
throw  off  their  disguise  and  the  Lincoln  green  ap- 
pears as  hy  magic  amongst  the  crowd.  The  guards 
are  rushed  and  hustled  hy  them.  Rohin  and  several 
of  his  men  make  a  ring  round  Will  Scarlet.] 

SHERIFF 

It  is  the  outlawed  Earl  of  Huntingdon : 

There  is  a  great  reward  upon  his  head. 

Down  with  him ! 

[The  Sheriff's  men  make  a  rush  at  the  little  hand.  A 
Knight  in  jet  hlack  armour,  tvith  a  red-cross  shield, 
suddenly  appears  and  forces  his  way  through  the 
moh,  sword  in  hand.~\ 

knight 

What,  so  many  against  so  few! 
Back,  you  wild  wolves.     Now,  foresters,  follow  me, 
For  our  St.  George  and  merry  England,  charge. 
Charge  them,  my  lads ! 

[The  Foresters  make  a  rush  with  him  and  the  Sheriff 
and  his  men  take  to  flight.'] 


84  SHERWOOD 

EOBIN 

Now  back  to  Sherwood,  swiftly ! 
A  horse,  or  I  shall  come  too  late ;  a  horse ! 
[He  sees  the  Knight  in  armour  standing  hy  his  horse.^ 
Your  pardon,  sir ;  our  debt  to  you  is  gi'eat, 
Too  great  almost  for  thanks;  but  if  you  be 
Bound  by  the  vows  of  chivalry,  I  pray  you 
Lend  me  your  charger;  and  my  men  will  bring  you 
To  my  poor  home  in  Sherwood.     There  you'll  find 
A  most  abundant  gratitude. 


KNIGHT 

Your  name? 

ROBIN 

Was  Huntingdon;  but  now  is  Eobin  Hood. 


KNIGHT 

If  I  refuse? 


ROBIN 

Then,  sir,  I  must  perforce 
Take  it.     I  am  an  outlaw,  but  the  law 
Of  manliood  still  constrains  me — 'tis  a  matter 
Of  life  and  death  — 


KNIGHT 

Take  it  and  God  be  with  you ! 
I'll  follow  you  to  Sherwood  with  your  men. 
[Robin  seizes  the  horse,  leaps  to  the  saddle,  and  gallops 
away.'] 


^lOurtain.'] 


SHERWOOD  85 

Scene     II.    Sherwood     Forest.    Outside     the     cave.'J 
Jenny,  Marian  and  Widow  Scarlet. 


MARIAN 

This  dreadful  waiting !     £How  I  wish  that  Eobin 
Had  listened  to  the  rest  and  stayed  with  me. 
How  still  the  woods  are !]     Jenny,  do  you  think 
There  will  be  fighting?     Oh,  I  am  selfish,  mother; 
You  need  not  be  afraid.     Eobin  will  bring 
Will  Scarlet  safely  back  to  Sherwood.     Why, 
Perhaps  they  are  all  returning  even  now! 
£Cheer  up !     How  long  d'you  think  they've  been  away, 
Jenny,  six  hours  or  more?     The  sun  is  high, 
And  all  the  dew  is  gone.] 

JENNY 

[Nay,  scarce  three  hours.J 
Now  don't  you  keep  a-fretting.     They'll  be  back. 
Quite  soon  enough.     [I've  scarcely  spoke  with  you. 
This  last  three  days  and  more ;  and  even  now 
It  seems  I  cannot  get  you  to  myself, 
Two's  quite  enough.] 

[To  Widow  Scarlet.] 

Come,  widow,  come  with  me. 
I'll  give  you  my  own  corner  in  the  hut 
And  make  you  cosy.     If  you  take  a  nap 
Will  Scarlet  will  be  here  betimes  you  wake. 

[Talces  her  to  the  hut  and  shuts  her  in.'\ 
[There,  drat  her,  for  a  mumping  mumble-crust ! 

MARIAN 

Come,  Jenny,  that's  too  bad ;  the  poor  old  dame 
Is  lonely.] 


86  SHERWOOD 

JENNY 

[She's  not  lonely  when  she  sleeps, 
And  if  I  never  get  you  to  myself 
Where  was  the  good  of  trapesing  after  you 
And  living  here  in  Sherwood  like  wild  rabbits  ?J 
You  ha'nt  so  much  as  let  me  comb  your  hair 
This  last  three  days  and  more. 

MARIAN 

Well,  comb  it,  Jenny, 
Now,  if  you  like,  and  comb  it  all  day  long; 
[But  don't  get  crabbed,  and  don't  speak  so  crossly ! J 
[Jenny  begins  loosening  IVIaeian's  hair  and  combing  it.l 

JENNY 

Why,  Mistress,  it  grows  longer  every  day. 
[It's  far  below  your  knees,  and  how  it  shines! 
And  wavy,  just  like  Much  the  Miller's  brook, 
Where  it  comes  tumbling  out  into  the  sun. 
Like  gold,  red  gold.] 

MARIAN 

Ah,  that's  provoking,  Jenny, 
For  you  forgot  to  bring  me  my  steel  glass, 
[And,  if  you  chatter  so,  I  shall  soon  want  it.] 

JENNY 

I've  found  a  very  goou  one  at  a  pinch. 

There's  a  smooth  silver  pool,  down  in  the  stream. 

Where  you  can  see  your  face  most  beautiful. 

MARIAN 

So  that's  how  Jenny  spends  her  lonely  hours, 
A  sad  female  Narcissus,  while  poor  Much 
Dwines  to  an  Echo  ! 


SHERWOOD  87 

JENNY 

I  don't  like  those  gods. 
I  never  cared  for  them.     But,  as  for  Much, 
Much  is  the  best  of  all  the  merry  men. 
And,  mistress,  0,  he  speaks  so  beautifully, 
It  might  be  just  an  Echo  from  blue  hills 
Ear,  far  away!     [You  see  he's  quite  a  scholar: 
Much,  more  an'  most  (That's  what  he  calls  the  three 
Greasy  caparisons  —  much,  more  an'  most)  ! 
You  see  they  thought  that  being  so  very  small 
They  could  not  make  him  grow  to  be  a  man, 
They'd  make  a  scholar  of  him  instead.     The  Friar 
Taught  him  his  letters.     He  can  write  his  name. 
And  mine,  and  yours,  just  like  a  missal  book, 
In  lovely  colours;  and  he  always  draws 
The  first  big  letter  of  Jenny  like  a  tree 
With  naked  Cupids  hiding  in  the  branches. 
Mistress,  I  don't  believe  you  hear  one  word 
I  ever  speak  to  you!     Your  eyes  pre  always 
That  far  and  far  away. 

MARIAN 

I'm  listening,  Jenny! 

JENNY 

Well,  when  he  draws  the  first  big  M  of  yours. 
He  makes  it  like  a  bridge  from  earth  to  heaven. 
With  white-winged  angels  passing  up  and  down; 
And,  underneath  the  bridge,  in  a  black  stream, 
He  puts  the  drowning  face  of  the  bad  Prince 
Holding  his  wicked  hands  out,  while  a  devil 
Stands  on  the  bank  and  with  a  pointed  stake 
Keens  him  from  landing — ] 

Ah,  what's  that?    What's  that? 

MARIAN 

0  Jenny,  how  you  startled  me! 


88  SHERWOOD 

JENNY 

I  thought 
I  saw  that  same  face  peering  thro'  the  ferns 
Yonder  —  there  — ■  see,   they  are  shaking  still. 
[She  screams.^ 

Ah !     Ah ! 
[Prince  John  and  another  man  appear  advancing  across 
the  glade.'] 

JOHN 

So  here's  my  dainty  tigress  in  her  den, 
£And  —  Warman  —  there's  a  pretty  scrap  for  you 
Beside  her.J     Now,  sweet  mistress,  will  you  deign 
To  come  with  me,  to  change  these  cheerless  woods 
For  something  queenlier?     [If  I  be  not  mistaken, 
You  have  had  time  to  tire  of  that  dark  cave. 
Was  I  not  right,  now?     Surely  you  can  see 
Those  tresses  were  not  meant  to  waste  their  gold 
Upon  this  desert.     Nay,  but  Marian,  hear  me. 
I  do  not  jest,] 

[^At  a  sign  from  Marian,  Jenny  goes  quicMy  inside  the 
cave.] 

That's  well!     Dismiss  your  maid! 
Warman,  remove  a  little. 

[His  man  retires.] 

I  see  you  think 
A  little  better  of  me !     Out  in  the  wood 
There  waits  a  palfrey  for  you,  and  the  stirrup 
Longs,  [as  I  long,]  to  clasp  your  dainty  foot. 
[I  am  very  sure  by  this  you  must  be  tired 
Of  outlawry,  a  lovely  maid  like  you.] 
[He  draws  nearer.'] 


MARIAN 

Wait  —  I  must  think,  must  think. 


SHERWOOD  89 

JOHN 

Give  me  your  hand! 
Why  do  you  shrink  from  me?     [If  you  could  know 
The  fire  that  burns  me  night  and  day,  you  would  not 
Eefuse  to  let  me  snatch  one  cooling  kiss 
From  that  white  hand  of  yours,] 

MARIAN 

If  you  be  prince. 
You  will  respect  my  loneliness  and  go. 

JOHN 

How  can  I  leave  you,  when  by  day  and  night 

I  see  that  face  of  yours. 

[I'll  not  pretend 

I  do  not  love  you,  do  not  long  for  you, 

Desire  and  hunger  for  your  kiss,  your  touch! 

I'll  not  pretend  to  be  a  saint,  you  see ! 

I  hunger  and  thirst  for  you.     Marian,  Marian. 

MARIAN 

You  are  mad  1 

JOHN 

Ay,  mad  for  you. 
Body  and  soul 

I  am  broken  up  with  love  for  you.     Your  eyes 
Flash  like  the  eyes  of  a  tigress,  and  I  love  them 
The  better  for  it. 
Ah,  do  not  shrink  from  me !] 

[Jenny  comes  out  of  the  cave  and  hands  Marian  a  how. 
She  leaps  lacJc  and  aims  it  at  John.] 

MARIAN 

Back,  you  wild  beast,  or  by  the  heaven  above  us, 
I'll  kill  you !     Now,  don't  doubt  me.     I  can  shoot 
Truly  as  any  forester.     I  swear, 
Prince  or  no  prince,  king  or  no  king,  I'll  kill  you 
If  you  should  stir  one  step  from  where  you  stand. 


90  SHERWOOD 

JOHN 

Come,  come,  sweet  Marian,  put  that  weapon  down. 
I  was  beside  myself,  was  carried  away. 
I  cannot  lielp  my  love  for  — 

MARIAN 

111  not  hear 
Another  sickening  word :  throw  down  your  arms, 
That  dagger  at  your  side. 


Marian,  I  swear  — 


JOHN 

Oh,  that's  too  foolish, 


[maeian 

You  see  that  rusty  stain 
Upon  the  silver  birch  down  yonder?     Watch. 

[She  shoots.     Then  swiftly  aims  at  him  again.'] 
Now,  throw  your  weapon  down.] 

[He  pulls  out  the  dagger  and  throws  it  down,  with  a  shrug 
of  his  shoulders.  One  of  his  men  steals  up  behind 
Marian.] 

JENNY 

Ah,  Mistress  Marian, 
There's  one  behind  you !     Look ! 
[The  man  springs  forward  and  seizes  Marian's  arms.] 

JOHN 

[Coming  forward  and  talcing  hold  of  her  also.] 

So,  my  sweet  tigress. 
You're  trapped  then,  are  you  ?     Well,  we'll  waste  no  time ! 
We'll  talk  this  over  when  we  reach  the  castle. 
Keep  off  the  maid,  there,  Warman;  I  can  manage 
This  turbulent  beauty.     [Ah,  by  God,  you  shall 
Come!     Ah?     God's  blood,  what's  this?] 
[Marian  has  succeeded  in  drawing  her  dagger  and  slightly 
wounding  him.     She  wrests  herself  free.] 


SHERWOOD  91 

MABIAN 

Keep  back,  I  warn  you! 

JOHN 

[Advancing  slowly.'] 
Strike,  now  strike  if  you  will.     You  will  not  like 
To  see  the  red  blood  spurting  up  your  hand. 
That's  not  maid's  work.     Come,  strike ! 
[EoBiN  Hood  appears  at  the  edge  of  the  glade  behind  him.'] 

You  see,  you  cannot! 
Your  heart  is  tenderer  than  you  think. 

EOBIN 

[Quietly.] 

Prince  John! 

JOHN 

[Turns  round  and  confronts  Eobin.] 
Out  with  your  blade,  Warman;  call  up  the  rest! 
[We  can  strike  freely  now,  without  a  fear 
Of  marring  the  sweet  beauty  of  the  spoil.] 
We  four  can  surely  make  an  end  of  him. 
Have  at  him,  lads,  and  swiftly,  or  the  thieves 
Will  all  be  down  on  us. 
[Eobin  draws  his  sword  and  sets  his  hacJc  to  an  oaTc.     The 

other  two  followers  of  Prince  John  come  out  of 

the  wood.] 

robin 

Come  on,  all  four ! 
This  oak  will  shift  its  roots  before  I  budge 
One  inch  from  four  such  howling  wolves.     Come  on; 
[You  must  be  tired  of  fighting  women-folk. 
Come  on!     By  God,  sir,  you  must  guard  your  head 
Better  than  that,] 

[He  disarms  Warman.] 

[Or  you're  just  food  for  worms 
Already;  come,  you  dogs!] 


92  SHERWOOD 

JOHN 

Work  round,  [you  three,] 
Behind  him !     [Drive  him  out  from  that  damned  oak !] 


KOBIN 

Oh,  that's  a  princely  speech!     Have  at  you,  sir! 

[He  strikes  Prince  John's  sword  out  of  his  hand  and  turns 
suddenly  to  confront  the  others.  John  picks  up  a 
dagger  and  makes  as  if  to  stab  Robin  in  the  hack. 
At  the  same  instant,  bugles  are  heard  in  the  dis- 
tance. The  red-cross  knight  flashes  between  the 
trees  and  seizing  John's  arm,  in  his  gauntleted 
hand,  disarms  him,  then  turns  to  help  Eobin.] 


KNIGHT 

What,  four  on  one!     Down  Avith  your  blades,  you  curs, 

Or,  by  Mahound !  — 

[The  three  men  take  to  flight.  John  stands  staring  at 
the  newcomer.  The  Foresters  appear,  surround- 
ing the  glade.'\ 


JOHN 

[Muttering.'] 
What?     Thou?     Thou?    Or  his   ghost? 
No  —  no  —  it  cannot  be. 


robin 

Let  them  yelp  home, 
[The  pitiful  jackals.]     They  have  left  behind 
The  prime  offender.     Ha,  there,  my  merry  lads, 
All's  well;  but  take  this  villain  into  the  cave 
And  guard  him  there. 

[The  Foresters  lead  Prince  John  into  the  cave.] 


SHERWOOD  93 

JOHN 

[To  the  Foresters.] 

Answer  me  one  thing;  who 
Is  yonder  red-cross  knight? 

A  FORESTER 

No  friend  of  thine, 
Whoe'er  he  be ! 

KNIGHT 
[To  EOBIN.] 

I  need  not  ask  his  name. 
I  grieve  to  know  it ! 

ROBIN 

Sir,  I  am  much  beholden 
To  your  good  chivalry.     What  thanks  is  mine 
To  give,  is  all  your  own. 

KNIGHT 

Then  I  ask  this ! 
Give  me  that  prisoner !     I  think  his  life  is  mine. 

ROBIN 

You  saved  my  own,  and  more,  you  saved  much  more 
Than  my  poor  life  is  worth.     But,  sir,  think  well ! 
This  man  is  dangerous,  not  to  me  alone. 
But  to  the  King  of  England;  for  he'll  yet 
Usurp  the  throne  !     Think  well ! 

KNIGHT 

I  ask  no  more. 
I  have  more  reasons  than  you  know. 

ROBIN 

So  be  it. 
Ho !     Bring  the  prisoner  back ! 


94  SHERWOOD 

IThe  FoRESTEES  bring  Prince  John  hacJc.    He  stares  at 
the  Knight  as  if  in  fear.] 

Sir,  you  shall  judge  him. 
This  prisoner  is  your  own. 

KNIGHT 

Then  —  let  him  go! 

FORESTEES 

What!    Set  him  free? 

ROBIN 

Obey! 
[They  release  Prince  John.] 

KNIGHT 

Out  of  my  sight; 
Go! 

PRINCE   JOHN 

What  man  is  this  ? 

KNIGHT 

iQuiekly,  get  thee  gone! 
[Prince  John  goes  out,  shaTcen  and  white.] 

ROBIN 

We'll  think  no  more  of  him !     It  is  our  rule 
Tliat  wliomsoe'er  we  meet  in  merry  greenwood 
Should  dine  with  us.    Will  you  not  be  our  guest? 

KNIGHT 

That's  a  most  happy  thought !     I  have  not  heard 
A  merrier  word  than  dinner  all  this  day. 
I  am  well-nigh  starved. 


SHERWOOD  95 

ROBIN 

Will  you  not  raise  your  visor 
And  let  us  know  to  whose  good  knightly  hand 
We  are  so  beholden  ? 

KNIGHT 

Sir,  you  will  pardon  me. 
If,  for  a  little,  I  remain  unknown. 
But,  tell  me,  are  you  not  that  Eobin  Hood 
Who  breaks  the  forest  laws? 

ROBIN 

That  is  my  name. 
[We  hold  this  earth  as  naturally  our  own 
As  the  glad  common  air  we  breathe.     We  think 
No  man,  no  king,  can  so  usurp  the  world 
As  not  to  give  us  room  to  live  free  lives,J 
But,  if  you  shrink  from  eating  the  King's  deer  — 

KNIGHT 

Shrink  ?     Ha !  ha !  ha !     I  count  it  as  my  own ! 

l^The  Foresters  appear,  preparing  the  dinner  on  a  table 
[0/  green  turfs,'J  beneath  a  spreading  oak. 
Marian  and  Jenny  appear  at  the  door  of  the 
hut.  Jenny  goes  across  to  help  at  the  prepara- 
tions for  dinner.^ 

ROBIN 

Ah,  there's  my  Lady  Marian !     Will  you  not  come 
And  speak  with  her? 

[He  and  the  Knight  go  and  talk  to  Marian  in  the  back- 
ground.'] 

little  JOHN 

[At  the  table.] 
The  trencliers  all  are  set; 
[Manehets  of  wheat,  cream,  curds  and  honey-cakes. 


96  SHERWOOD 

Venison  pasties,  roasted  pigeons !]     Much, 
Eun  to  the  cave;  we'll  broach  our  rarest  wine 
To-day.     [Old  Much  is  waiting  for  thee  there 
To  help  him.     He  is  growling  roundly,  too, 
At  thy  delay. 

MUCH 

[Going  towards  the  cave.'] 
Ah  me,  my  poor  old  father ! 

JENNY 

I've  dressed  the  salt  and  strawed  the  dining  hall 
With  flowers.] 

[Enter  Feiar  Tuck  with  several  more  Foresters  and 
Will  Scarlet.] 

ROBIN 

Ah,  good  Will  Scarlet,  here  at  last ! 

£friar  tuck 

We  should  ha'  been  here  sooner ;  but  these  others 
Borrowed  a  farmer's  market  cart  and  galloped 
Ahead  of  us ! 

robin] 

Thy  mother  is  in  the  hut. 
Sheer  broken  down  with  hope  and  fearfulness. 
Waiting  and  trembling  for  thee,  Will.     Go  in. 
Put  thy  big  arm  around  her. 

[Will  Scarlet  goes  into  the  hut  with  a  cry.] 

scarlet 

Mother ! 

FRIAR  TUCK 

You  see, 
My  sons,  you  couldn't  expect  the  lad  to  run ! 
[There  is  a  certain  looseness  in  the  limbs, 


SHERWOOD  97 

A  quaking  of  the  flesh  that  overcomes 
The  bravest  who  has  felt  a  hangman's  rope 
Cnddling  his  neck.J 

EOBIN 

You  judge  him  by  the  rope 
That  cuddles  your  slim  waist !     Oh,  you  sweet  armful, 
Sit  down  and  pant !     I  warrant  you  were  glad 
To  bear  him  company. 

FRIAR  TUCK 

I'll  not  deny  it ! 
I  am  a  man  of  solids.  Like  the  Church, 
I  am  founded  on  a  rock. 

IHe  sits  down.'} 

ROBIN 

Solids,  i'  faith ! 
Sir,  it  is  true  he  is  partly  based  on  beef; 
He  grapples  with  it  squarely;  but  fluids,  too, 
Have  played  their  part  in  that  cathedral  choir 
He  calls  his  throat.     [One  godless  virtue,  sir, 
They  seem  to  have  given  him.     Never  a  nightingale 
Gurgles  jug!  jug!  in  mellower  tones  than  he 
When  jugs  are  flowing.     Never  a  thrush  can  pipe 
Sweet,  sweet,  so  rarely  as,  when  a  pipe  of  wine 
Summers  his  throttle,  we'll  make  him  sing  to  us 
One  of  his  heathen  ditties  —  The  Malmsey  Butt, 
Or  Down  the  Merry  Red  Lane  /] 

FRIAR  TUCK 

Oh,  ay,  you  laugh. 
But,  though  I  cannot  run,  when  I  am  rested 
I'll  challenge  you,  Robin,  to  a  game  of  buffets, 
[One  fair,  square,  stand-up,  stand-still,  knock-doMH  blow 
Apiece;  you'll  need  no  more.]     If  you  not  kiss 


98  SHERWOOD 

The  turf,  at  my  first  clout,  I  will  forego 
Malmsey  for  ever ! 

ROBIN 

Friar,  I  recant; 
You're  champion  there.     Fists  of  a  common  size 
I  will  encounter ;  but  not  whirling  hams 
Like  thine ! 

FRIAR   TUCK 

I  knew  it! 

JENNY 

^Approaching.'] 

Please  you,  sirs,  all  is  ready ! 

PRIAH   TUCK 

Ah,  Jenny,  Jenny,  Jenny,  that's  good  news! 

[Will  Scarlet  comes  out  of  the  hut  with  his  arm  round 
his  mother.  They  all  sit  doiun  at  the  table  of 
turfs.     Enter  Shadow-of-a-Leap  timidly.] 

SHADOW-OF-A-LEAF 

Is  there  a  place  for  me? 

A   FORESTER 

Ay,  come  along! 

FRIAB  TUCK 

Now,  Eobin,  don't  forget  the  grace,  my  son. 

ROBIN 

[Standing  up.] 
It  is  our  custom,  sir,  since  our  repast 
Is  borrowed  from  the  King,  to  drain  one  cup 
To  him,  and  his  return  from  the  Crusade, 
Before  we  dine.     [That  same  wine-bibbing  friar 


SHERWOOD  99 

Calls  it  our  '  grace '  ;  and  constitutes  himself 
Eemembrancer  —  without  a  cause,  for  never 
Have  we  forgotten,  never  while  bugles  ring 
Thro'  Sherwood,  shall  forget]  —  Outlaws,  the  King ! 
[All  stand  up  except  the  Knight.] 

CRIES 

The  King  and  his  return  from  the  Crusade ! 

[They  drinh  and  resume  their  seats.^ 

ROBIN 

You  did  not  drink  the  health,  sir  Knight.     I  hope 
You  hold  with  Lion-Heart. 

KNiG"n:T 

Yes;  I  hold  with  him. 
You  were  too  quick  for  me.     I  had  not  drawn 
These  gauntlets  off. 

But  tell  me,  Lady  Marian, 
When  is  your  bridal  day  with  Eobin  Hood? 

MARIAN 

We  shall  be  wedded  when  the  Elng  comes  home 
From  the  Crusade. 

KNIGHT 

Ah,  when  the  King  comes  home ! 
That's  music  —  all  the  birds  of  April  sing 
In  those  four  words  for  me  —  the  King  comes  home. 

MARIAN 

I  am  glad  you  love  him,  sir. 

ROBIN 

But  you're  not  eating ! 
Your  helmet's  locked  and  barred.     Will  you  not  raise 
Your  visor? 


100  SHERWOOD 

KNIGHT 

[Laughs.'] 
Ha !  ha !  ha !     You  see  I  am  trapped ! 
I  did  not  wish  to  raise  it !     Hunger  and  thirst 
Break  down  all  masks  and  all  disguises,  Eobin. 
[He  rises  and  removes  his  helmet,  revealing  the  face  of 

ElCHARD  CCEUR  DE  LlON.] 


The  King 


ROBIN 

[They  all  leap  to  their  feet."] 

OUTLAWS 

The  King !     The  King ! 

ROBIN 

But  oh,  my  liege, 
I  should  have  known,  when  we  were  hard  beset 
Around  Will  Scarlet  by  their  swarming  bands. 
And  when  you  rode  out  of  the  Eastern  sky 
And  hurled  our  foemen  down,  I  should  have  known 
It  was  the  King  come  home  from  the  Crusade ! 
And  when  I  was  beset  here  in  the  wood 
By  treacherous  hands  again,  I  should  have  known 
Whose  armour  suddenly  burned  between  the  leaves ! 
I  should  have  known,  either  it  was  St.  George 
Or  else  the  King  come  home  from  the  Crusade! 

RICHARD 

Indeed  there  is  one  thing  that  might  have  told  you, 
Eobin  —  a  lover's  instinct,  since  it  seems 
So  much  for  you  and  Marian  depends 
On  my  return. 

SHADOW-OF-A-LEAP 

Sire,  you  will  pardon  me. 
For  I  am  only  a  fool,  and  yet  methinks 


SHERWOOD  101 

You  know  not  half  the  meaning  of  those  words  — 
The  King,  the  Eang  comes  home  from  the  Crusade ! 
Thrust  up  your  swords,  heft  uppermost,  my  lads, 
And  shout  —  the  King  comes  home  from  the  Crusade. 
[He  haps  on  a  seat,  and  thrusts  up  the  King's  sword,  heft 
uppermost,  as  if  it  were  a  cross.^ 

ROBIN 

Pardon  him,  sire,  poor  Shadow-of-a-Leaf  has  lost 
His  wits ! 

SHADOW-OF-A-LEAF 

That's  what  Titania  said  you'd  say, 
Poor  sweet  bells  out  of  tune  !     But  oh,  don't  leave. 
Don't  leave  the  forest!     There's  darker  things  to  come! 
Don't  leave  the  forest !     [I  have  wits  enough  at  least 
To  wrap  my  legs  around  my  neck  for  warmth 
On  winter  nights. 

RICHARD 

Well,  you've  no  need  to  pass 
The  winter  in  these  woods  — 

SHADOW-OF-A-LEAF 

Oh,  not  that  winter  !J 

ROBIN 

Shadow-of-a-Leaf,  be  silent ! 

[Shadow-of-a-Leaf  goes  aside  and  throws  himself  down 
sobbing  among  the  ferns.'] 

RICHARD 

[When  even  your  cave 
Methinks  can  scarce  be  cheery,]     Huntingdon, 
Your  earldom  we  restore  to  you  this  day ! 
You  and  my  Lady  Marian  shall  return 
To  Court  with  us,  where  your  true  bridal  troth 


102  SHERWOOD 

Shall  be  fulfilled  with  golden  marriage  bells. 
Now,  friends,  the  venison  pasty !     [We  must  hear 
The  Malmsey  Butt  and  Down  the  Merry  Bed  LaneJ^ 
Ere  we  set  out,  at  dawn,  for  London  Town. 

ROBIN 

Alan-a-Dale  shall  touch  a  golden  string 
To  speed  our  feast,  sire  [for  he  soars  above 
The  gross  needs  of  the  Churchman !] 

RICHARD 

Alan-a-Dale  ? 

V5^ILL  SCARLET 

Our  greenwood  minstrel,  sire !     His  harp  is  ours 
Because  we  won  liis  bride  for  him. 

RICHARD 

His  bride? 

REYNOLD   GREENLEAF 

Was  to  be  wedded,  sire,  against  her  will 
Last  May,  to  a  rich  old  baron. 

RICHARD 

[Pigeon-pie  — 
And  Malmsey  —  yes]  —  a  rich  old  baron  —  tell ! 

ROBIN 

Sire,  on  the  wedding  day,  my  merry  men 
Crowded  the  aisles  with  uninvited  guests; 
And,  as  the  old  man  drew  forth  the  golden  ring, 
[They  threw  aside  their  cloaks  with  one  great  shout 
Of  '  Sherwood ' ;  and,  for  all  its  crimson  panes,] 
The  church  was  one  wild  sea  of  Lincoln  green ! 
The  Forest  had  broken  in,  sire,  and  the  bride 
Like  a  wild  rose  tossing  on  those  green  boughs, 


SHERWOOD  103 

Was  borne  away  and  wedded  here  by  Tuck 
To  her  true  lover ;  and  so  —  his  harp  is  ours. 

ALAN-A-DALE 

No  feasting  song,  sire,  but  the  royal  theme 
Of  chivalry  —  a  song  I  made  last  night 
In  yonder  ruined  chapel.     It  is  called 
The  Old  Knight's  Vigil 

RICHAED 

Our  hearts  will  keep  it  young ! 
[Alan-a-Dale  sings,  Shadow-of-a-Leaf  raises  his  head 
among  the  ferns.'] 

ISong.} 


Once,  in  this  chapel,  Lord, 

Young  and  undaunted. 
Over  my  virgin  sword 

Lightly  I  chaunted, — 
"  Dawn  ends  my  watch.     I  go 
Shining  to  meet  the  foe ! " 

II 

"  Swift  with  thy  dawn,"  I  said, 

"  Set  the  lists  ringing ! 
Soon  shall  thy  foe  be  sped, 

And  the  world  singing! 
Bless  my  bright  plume  for  me, 
Christ,  King  of  Chivalry." 

[Shadow-of-a-Leaf  rises  to  his  Jcnees  amongst  the  ferns.^ 


104  SHERWOOD 

III 

"  War-worn  I  kneel  to-night, 
Lord,  by  Thine  altar! 

Oh,  in  to-morrow's  fight. 
Let  me  not  falter  ! 

Bless  my  dark  arms  for  me, 

Christ,  King  of  Chivalry. 

IV 

"Keep  Thou  my  broken  sword 
AU  the  long  night  through 

While  I  keep  watch  and  ward ! 
Then  —  the  red  fight  through. 

Bless  the  wrenched  haft  for  me, 

Christ,  King  of  Chivalry. 


"  Keep,  in  thy  pierced  hands. 

Still  the  bruised  helmet : 
Let  not  their  hostile  bands 

Wholly  o'erwhelm  it ! 
Bless  my  poor  shield  for  me, 
Christ,  King  of  Chivalry. 

VI 

"  Keep  Thou  the  sullied  mail. 

Lord,  that  I  tender 
Here,  at  Thine  altar-rail ! 

Then  —  let  Thy  splendour 
Touch  it  once  .  .  .  and  I  go 
Stainless  to  meet  the  foe." 

[Shadow-of-a-Leaf  rises  to  his  feet  and  takes  a  step 
towards  the  minstrel.^ 

[Curtain.l 


ACT  IV 


iil 


ACT  IV 

Scene  I.     Garden  of  the  King's  Palace.    Enter  John 
and  Elinor. 

ELINOR 

You  will  be  king  the  sooner !     Not  a  month 
In  England,  and  my  good  son  Lion-Heart 
Must  wander  over-seas  again.     [These  two, 
Huntingdon  and  his  bride,  must  bless  the  star 
Of  errant  knighthood.] 

JOHN 

He  stayed  just  long  enough 
To  let  them  pass  one  fearless  honeymoon 
In  the  broad  sunlight  of  his  royal  favour, 
Then,  like  a  meteor  off  goes  great  King  Eiehard, 
And  leaves  them  but  the  shadow  of  his  name 
To  shelter  them  from  my  revenge.     [They  know  it ! 
I  have  seen  her  shiver  like  a  startled  fawn 
And  draw  him  closer,  damn  him,  as  I  passed.] 

ELINOR 

They  would  have  flitted  to  the  woods  again 
But  for  my  Lord  Fitzwalter. 

JOHN 

That  old  fool 
Has  wits  enough  to  know  I  shall  be  king, 
[And  for  his  land's  sake  cheats  himself  to  play 
Sir  Pandarus  of  Troy.     "  'Tis  wrong,  dear  daughter, 
To  think  such  evil."]     Pah,  he  makes  me  sick ! 

107 


108  SHERWOOD 

ELINOR 

Better  to  laugh.     He  is  useful. 

JOHN 

If  I  were  king! 
If  Eiehard  were  to  perish  over-seas ! 
I'd  — 

ELINOR 

You'd  be  king  the  sooner.     [Never  fear : 
These  wandering  meteors  flash  into  their  graves 
Like  lightning,  and  no  thunder  follows  them 
To  warn  their  foolish  henchmen.] 

JOHN 

[Loohing  at  her  searchingly .1 

Shall  I  risk 
The  King's  return  ? 

ELINOR 

What  do  you  mean? 


JOHN 


I  mean 


[I  cannot  wait  and  watch  this  Eobin  Hood 

Dangle  the  fruit  of  Tantalus  before  me, 

Then  eat  it  in  my  sight !]     I  have  borne  enough ! 

He  gave  me  like  a  fairing  to  my  brother 

In  Sherwood  Forest ;  and  I  now  must  watch  him, 

A  happy  bridegroom  with  the  happy  bride, 

[Whose  lips  I  meant  for  mine.J 


I  love  to  see  it  ? 


ELINOR 

And  do  you  think 


SHERWOOD  109 


JOHN 


Had  it  not  been  for  you 
He  would  have  died  ere  this ! 

ELINOR 

Then  let  him  die! 

JOHN 

Oh,  ay,  but  do  you  mean  it,  mother? 

ELINOR 

God, 
I  hate  him,  hate  him ! 

JOHN 

Mother,  he  goes  at  noon 
To  Sherwood  Forest,  with  a  bag  of  gold 
For  some  of  his  old  followers.     If,  by  chance 
He  [fall  —  how  saith  the  Scripture  ?  —  among  thieves 
And]  vanish  —  is  not  heard  of  any  more, 
I  think  Suspicion  scarce  could  lift  her  head 
Among  these  roses  here  to  hiss  at  me. 
When  Lion-Heart  returns. 

ELINOR 

Vanish  ? 

JOHN 

I  would  not 
Kill  him  too  quickly.     I  would  have  him  taken 
To  a  dungeon  that  I  know. 

ELINOR 

You  have  laid  your  trap 
Already?     Tell  me.     You  need  not  be  afraid! 
[I  saw  them  kiss,  in  the  garden,  yesternight; 
And  I  have  wondered,  ever  sijice,  if  fire 


110  SHERWOOD 

Could  make  a  brand  quite  hot  enough  to  stamp 
My  hate  upon  him.] 

JOHN 

[Well,  then,  I  will  tell  you  — 
The  plan  is  laid ;  and,  if  his  bag  of  gold 
Eejoice  one  serf  to-day,  then  I'll  resign 
Maid  Marian  to  his  loving  arms  for  ever. 
But  you  must  help  me,  mother,  or  she'll  suspect. 
Do  not  let  slip  your  mask  of  friendliness, 
As  I  have  feared  !]     Look  —  there  our  lovers  come 
Beneath  that  arch  of  roses.     Look,  look,  mother, 
They  are  taking  leave  of  one  another  now, 
A  ghastly  parting,  for  he  will  be  gone 
Well  nigh  four  hours,  they  think.     [To  look  at  them, 
One  might  suppose  they  knew  it  was  for  ever.] 

ELINOR 

Come,  or  my  hate  will  show  itself  in  my  face : 
I  must  not  see  them. 

[Exeunt  Prince  and  Elinor.     A  paiise.    Enter  Eobin 
Hood  and  Marian.] 

robin 

So,  good-bye,  once  more, 
Sweetheart. 

MARIAN 

Four  hours ;  how  shall  I  pass  the  time  ? 
Four  hours,  four  ages,  you  will  scarce  be  home 
By  dusk;  how  shall  I  pass  it? 

ROBIN 

You've  to  think 
What  robe  to  wear  at  the  great  masque  to-night 
And  then  to  don  it.     Wlien  you've  done  all  that 
I  shall  be  home  again. 


SHERWOOD  111 

[MARIAN 

What,  not  before? 

ROBIN 

That's  not  unlikely,  either. 

MARIAN 

Kow  you  mock  me, 
But  you'll  be  back  before  the  masque  begins. 

ROBIN 

I  warrant  you  I  will.] 

MARIAN 

It  is  a  month 
To-day  since  we  were  married.     Did  you  know  it? 
Fie,  I  believe  you  had  forgotten,  Eobin. 

ROBIN 

I  had,  almost.     If  marriage  make  the  moons 
Fly,  as  this  month  has  flown,  we  shall  be  old 
And  grey  in  our  graves  before  we  know  it. 
I  wish  that  we  could  chai^^  old  Father  Time. 

MARIAN 

And  break  his  glass  into  ten  thousand  pieces. 

ROBIN 

And  drown  his  cruel  scythe  ten  fathom  deep. 
Under  the  bright  blue  sea  whence  Love  was  born : 

[MARIAN 

Ah,  but  we  have  not  parted  all  this  month 
More  than  a  garden's  breadth,  an  arrow's  flight: 
Time  will  be  dead  till  you  come  back  again. 
Four  hours  of  absence  make  four  centuries ! 
Do  you  remember  how  the  song  goes,  Robin, 


112  SHERWOOD 

That  bids  true  lovers  not  to  grieve  at  parting 
Often?  for  Nature  gently  severs  them  thus, 
Training  them  up  with  kind  and  tender  art, 
For  the  great  day  when  they  must  part  for  ever. 

ROBIN 

Do  you  believe  it,  Marian? 

MARIAN 

No;  for  love 
Buried  beneath  the  dust  of  life  and  death, 
Would  wait  for  centuries  of  centuries, 
Ages  of  ages,  until  God  remembered, 
And,  through  that  perishing  cloud-wrack,  face  looked  up 
Once  more  to  loving  face. 

ROBIN 

Your  hope  —  and  mine ! 
Is  not  a  man's  poor  memory,  indeed, 
A  daily  resurrection  ?     Your  hope  —  and  mine ! 

MARIAN 

And  all  the  world's  at  heart !     I  do  believe  it. 

ROBIN 

And  I  —  if  only  that  so  many  souls 

Like  yours  have  died  believing  they  should  meet 

Again,  lovers  and  children,  little  children ! 

God  will  not  break  that  trust.     I  have  found  my  heaven 

Again  in  you;  and,  though  I  stumble  still. 

Your  small  hand  leads  me  thro'  the  darkness,  up 

And  onward,  to  the  heights  I  dared  not  see. 

And  dare  not  even  now ;  but  my  head  bows 

Above  your  face;  I  see  them  in  your  eyes.] 

Love,  point  me  onward  still ! 

[He  takes  her  in  Jiis  arms.'] 

Good-bye !     Good-bye ! 


SHERWOOD  113 

MARIAN 


Come  back,  come  back,  before  the  masque  begins 


ROBIN 


Ay,  or  a  little  later  —  never  fear : 
You'll  not  so  easily  lose  me. 


MARIAN 

I  shall  count 
The  minutes ! 

ROBIN 

Why,  you're  trembling ! 


MARIAN 

Yes,  I  am  foolish. 
This  is  the  first  small  parting  we  have  had; 
But  —  you'll  be  back  ere  dusk  ? 


ROBIN 

\_LaugMng.'\ 

Ah,  do  you  think 
That  chains  of  steel  could  hold  me,  sweet,  from  you, 
[With  tliose  two  heavenly  eyes  to  call  me  home. 
Those  lips  to  welcome  me  ?1     Good-bye ! 


MARIAN 

Good-bye ! 
[He  goes  hurriedly  out.     She  loolcs  after  him  for  a  moment, 

then  suddenly  calls.^ 
Eobin !     [Ah,  well,  no  matter  now  —  too  late  !J 
[She  stands  looking  after  him.1 


114  SHERWOOD 

[Scene  II.  Sherwood  Forest:  dusk.  Outside  the  cave, 
as  in  the  second  act.'X  Shadow-of-a-Leaf  runs 
quickly  across  the  glade,  followed  by  Puck. 

rucK 
Shadow-of-a-Leaf !    Shadow-of-a-Leaf !    Shadow-of-a-Leaf ! 
Don't  dance  away  like  that ;  don't  hop ;  don't  skip 
Like  that,  I  tell  you !     [I'll  never  do  it  again, 
I  promise.     Don't  be  silly  now !]     Come  here ; 
I  want  to  tell  you  something.     Ah,  that's  right. 
Come,  sit  down  here  upon  this  bank  of  thyme 
[  "  While  I  thine  amiable  ears  " —  Oh,  no, 
Forgive  me,  ha !  ha !  ha !] 

SHADOW-OF-A-LEAF 

Now,  Master  Puck, 
You'll  kindly  keep  your  word !     [A  foxglove  spray 
In  the  right  hand  is  deadlier  than  the  sword 
That  mortals  use,  and  one  resounding  thwack 
Applied  to  your  slim  fairyhood's  green  limbs 
Will  make  it  painful,  painful,  very  painful. 
Next  time  your  worship  wishes  to  sit  down 
Cross-legged  upon  a  mushroom.] 

PUCK 

Ha !  ha !  ha ! 
Poor  Shadow-of-a-Leaf! 

SHADOW-OF-A-LEAF 

You  keep  your  word,  that's  aU! 

PUCK 

Haven't  I  kept  my  word?     Wasn't  it  I 
That  made  you  what  these  poor,  dull  mortals  call 
Crazy?     [Who  crowned  you  with  the  cap  and  bells? 
Who  made  you  such  a  hopeless,  glorious  fool 
That  wise  men  are  afraid  of  every  word 


SHERWOOD  115 

You  utter?    Wasn't  it  I  that  made  you  free 
Of  fairyland  —  that  showed  you  how  to  pluck 
Fern-seed  by  moonlight,  and  to  walk  and  talk 
Between  the  lights,  with  urchins  and  with  elves? 
Is  there  another  fool  twixt  earth  and  heaven 
Like  you  —  ungrateful  rogue  —  answer  me  that !] 

SHADOW-OF-A-LEAF 

All  true,  dear  gossip,  and  for  saving  me 

From  the  poor  game  of  blind  man's  buff  men  call 

Wisdom,  I  thank  you ;  [but  to  hang  and  buzz 

Like  a  mad  dragon-%,  now  on  my  nose, 

Xow  on  my  neck,  now  singing  in  my  ears, 

Is  that  to  make  me  free  of  fairyland? 

No  —  that's  enough  to  make  the  poor  fool  mad 

And  take  to  human  wisdom. 

PUCK 

Yet  you  love  me. 
Ha !  ha !  —  you  love  me  more  than  all  the  rest. 
You  can't  deny  it !     You  can't  deny  it !     Ha !  ha ! 

SHADOW-OF-A-LEAF 

I  won't  deny  it,  gossip.     E'en  as  I  think 
There  must  be  something  loves  us  creatures.  Puck, 
More  than  the  Churchmen  say.     We  are  so  teased 
With  thorns,  bullied  with  briars,  baffled  with  stars. 
I've  lain  sometimes  and  laughed  until  I  cried 
To  see  the  round  moon  rising  o'er  these  trees 
With  that  same  foolish  face  of  heavenly  mirth 
Winking  at  lovers  in  the  blue-bell  glade.J 

PUCK 

[Lovers !     Ha !  ha !     I  caught  a  pair  of  'em 
Last  night,  behind  the  ruined  chapel !     Lovers ! 
0  Lord,  these  mortals,  they'll  be  the  death  of  me !] 
Hist,  who  comes  here  ? 


116  SHERWOOD 

SHADOW-OF-A-LEAF 

Scarlet  and  Little  Jolin, 
And  all  the  merry  men  —  not  half  so  merry 
Since  Eobin  went  away.     He  was  to  come 
And  judge  between  the  rich  and  poor  to-day, 
I  think  he  has  forgotten. 

PUCK 

Hist,  let  me  hide 
Behind  this  hawthorn  bush  till  they  are  gone. 
[Enter  the  Foresters  —  \iliey  all  go  into  the  cave  except 

Scarlet  and  Little  John,  who  stand  at  the 

entrance^  looking  anxiously  baclc.'J 

little  JOHN" 

I  have  never  known  the  time  when  Eobin  Hood 
Said  "  I  will  surely  come,"  and  hath  not  been 
Punctual  as  yonder  evening  star. 

scarlet 

Pray  God 
No  harm  hath  fallen  him.     Indeed  he  said, 
"  Count  on  my  coming." 

little   JOHN 

I'll  sound  yet  one  more  call. 
They  say  these  Courts  will  spoil  a  forester. 
It  may  be  he  has  missed  the  way.     I'd  give 
My  sword-hand  just  to  hear  his  jolly  bugle 
Answer  me. 

[He  blows  a  forest  call.     They  listen.    All  is  silent.'] 

scarlet 
Silence  —  only  the  sough  of  leaves ! 


SHERWOOD  117 


LITTLE  JOHN 


Well,  I'm  for  sleep :  the  moon  is  not  so  bright 
Since  Eobin  left  us. 

SCARLET 

Ha!     Shadow-of-a-Leaf,  alone? 
I  thought  I  heard  thy  voice. 

LITTLE   JOHN 

[Oh,  he  will  talk 
With  ferns  and  flowers  and  whisper  to  the  mice !] 
Perfectly  happy,  art  thou  not,  dear  fool? 

SHADOW-OF-A-LEAP 

Perfectly  happy  since  I  lost  my  wits ! 

SCARLET 

Pray  that  thou  never  dost  regain  them,  then, 
Shadow-of-a-Leaf. 

SHADOW-OF-A-LEAF 

I  thank  you  kindly,  sir. 
And  pray  that  you  may  quickly  lose  your  own, 
And  so  be  happy,  too.     [Robin's  away. 
But,  if  you'd  lost  your  wits,  you  would  not  grieve.] 

SCARLET 

Good-night,  good  fool. 

SHADOW-OF-A-LEAF 

[I  will  not  say  "  Good-night," 
Wise  man,  for  I  am  crazed,  and  so  I  know 
'Tis  good,  and  yet  you'll  grieve.J     I  wish  you  both 
A  bad  night  that  will  tease  j^our  wits  away 
And  make  you  happy. 

[The     Outlaws     enter     the     cave.     Shadow-of-a-Leap 
beckons  to  Puck,  who  steals  out  again.'] 


118  SHERWOOD 

PUCK 

Shadow-of-a-Leaf,  some  change 
Is  creeping  o'er  the  forest.     £1  myself 
Scarce  laugh  so  much  since  Eobin  went  away ! 
Oh,  my  head  hangs  as  heavily  as  a  violet 
Brimmed  with  the  rain.]     Shadow-of-a-Leaf,  a  cloud, 
A  wliisper  steals  across  this  listening  wood ! 
I  am  growing  afraid.     Dear  fool,  I  am  thy  Puck, 
But  I  am  growing  afraid  there  comes  an  end 
To  all  our  Sherwood  revels,  and  I  shall  never 
Tease  thee  again. 

SHADOW-OF-A-LEAP 

Here  comes  the  King ! 

[Enter  Oberon.] 

Hail,  Oberon. 
King  of  the  fairies,  I  strew  ferns  before  you. 
There  are  no  palms  here :  ferns  do  just  as  well ! 

OBERON 

Shadow-of-a-Leaf,  our  battles  all  are  wasted; 
Our  fairy  dreams  whereby  we  strove  to  warn 
Eobin  and  Marian,  wasted.     Sbadow-of-a-Leaf, 
Dear  Robin  Hood,  the  lover  of  the  poor. 
And  kind  Maid  Marian,  our  forest  queen. 
Are  in  the  toils  at  last. 

[He  pauses.'] 

SHADOVr-OF-A-LEAF 

Speak,  speak ! 


OBERON 

Hath  trapped  and  taken  Eobin. 


Prince  John 


SHERWOOD  119 

SHADOW-OF-A-LEAF 

Is  not  Eichard 
King  of  this  England  ?     Did  not  Eichard  [tempt 
Eobin,  for  Marian's  sake,  to  leave  the  forest? 
Did  he  notj  swear  upon  the  Holy  Cross 
That  Eobin  should  be  Earl  of  Huntingdon 
And  hold  his  lands  in  safety  ? 

OBEEON 

Only  fear 
Of  Eichard  held  the  wicked  Prince  in  leash. 
But  Eichard  roamed  abroad  again.     Prince  John 
Would  murder  Eobin  secretly. 

SHADOW-OF-A-LEAF 

Wise  men 
Fight  too  much  for  these  holy  sepulchres ! 
Are  not  the  living  images  of  God 
Better  than  empty  graves? 

OBERON 

One  grave  is  filled 
Now;  for  our  fairy  couriers  have  brought 
Tidings  that  Eichard  Lion-Heart  is  dead. 


SHADOW-OF-A-LEAP 


Dead? 


OBEEON 

Dead !    In  a  few  brief  hours  the  news  will  reach 
The  wicked  Prince.     He  will  be  King  of  England, 
With  Marian  in  his  power ! 

SHADOW-OF-A-LEAF 

N"o  way  to  save  them ! 


120  SHERWOOD 

OBERON 

We  cannot  break  our  fairy  vows  of  silence. 

A  mortal,  Shadow-of-a-Leaf,  can  break  those  vows, 

But  only  on  pain  of  death. 

SHADOW-OF-A-LEAP 

Oberon,  I, 
Shadow-of-a-Leaf,  the  fool,  must  break  my  vows! 
I  must  save  Eobin  Hood  [that  he  may  save 
Marian  from  worse  than  death.] 

OBERON 

Shadow-of-a-Leaf, 
Think  what  death  means  to  you,  never  to  join 
Our  happy  sports  again,  never  to  see 
The  moonlight  streaming  through  these  ancient  oaks 
Again,  never  to  pass  the  fairy  gates 
Again.     We  cannot  help  it.     They  will  close 
Like  iron  in  your  face,  and  you  will  hear 
Our  happy  songs  within;  but  you  will  lie 
Alone,  without,  dying,  [and  never  a  word 
To  comfort  you,  no  hand  to  touch  your  brow.J 

SHADOW-OF-A-LEAF 

So  be  it.     I  shall  see  them  entering  in ! 
The  time  is  brief.     Quick,  tell  me,  where  is  Eobin? 
Quick,  or  the  news  that  makes  Prince  John  a  king 
Will  ruin  all. 

OBERON 

Eobin  is  even  now 
Thrust  in  the  great  dark  tower  beyond  the  wood, 
The  topmost  cell  where  foot  can  never  climb. 

SHADOW-OF-A-LEAF 

Cannot  an  arrow  reach  it?     Ay,  be  swift; 
Come,  lead  me  thither. 


SHERWOOD  121 

OBERON 

[I  cannot  disobey 
The  word  that  kills  the  seed  to  raise  the  wheat, 
The  word  that  — J  Shadow-of-a-Leaf,  I  think  I  know 
Now,  why  great  kings  ride  out  to  the  Crusade. 

SHADOW-OF-A-LEAP 

Quickly,  come,  quickly ! 

'[Exeunt  Oberon  and  Shadow-of-a-Leaf.  Puck  remains 
staring  after  them,  then  vanishes  with  a  soh,  be- 
tween the  trees.  [*  Little  John  and  Scarlet 
appear  once  more  at  the  mouth  of  the  cave.J 

SCARLET 

I  thought  I  heard  a  voice. 

LITTLE  JOHN 

'Twas  only  Shadow-of-a-Leaf  again.     He  talks 
For  hours  among  the  ferns,  plays  with  the  flowers, 
And  whispers  to  the  mice,  perfectly  happy ! 

SCARLET 

I  cannot  rest  for  thinking  that  some  harm 
Hath  chanced  to  Eobin.     Call  him  yet  once  more. 
[Little  John  Moivs  his  hugle.    All  is  silent.     They  stand 
listening.^ 

Scene  III.  A  gloomy  cell.  Eobin  hound.  Prince 
John  and  two  mercenaries.  A  low  narrow  door 
in  the  background,  small  barred  window  on  the 
left 

*  In  acting  omit  text  from  this  point  to  beginning  of  Sc.  IV, 
the  action  of  which  follows  directly  after  the  lighting  of  the 
torches. 


122  SHERWOOD 

PRINCE   JOHN" 

[^To  the  Mercenaries.'] 

Leave  us  a  moment.     I  have  private  matters 

To  lay  before  this  friend  of  all  the  poor. 

You  may  begin  to  build  the  door  up  now, 

So  that  you  do  not  wall  me  in  with  him. 

[The  two  men  begin  filling  up  the  doorway  with  rude  blocks 

of  masonry.] 
So  now,  my  good  green  foot-pad,  you  are  trapped 
At  last,  trapped  in  the  practice  of  your  trade ! 
Trapped,  as  you  took  your  stolen  Norman  gold 
To  what  was  it  —  a  widow,  or  Saxon  serf 
With  eye  put  out  for  breaking  forest  laws? 
You  hold  with  them,  it  seems.     Your  dainty  soul 
Sickens  at  our  gross  penalties ;  and  so 
We'll  not  inflict  them  on  your  noble  self. 
Although  we  have  the  power.     There's  not  a  soul 
Can  ever  tell  where  Eobin  Hood  is  gone. 
These  walls  will  never  echo  it. 

[He  taps  the  wall  with  his  sword.] 
And  yet 
There  surely  must  be  finer  ways  to  torture 
So  fine  a  soul  as  yours.     Was  it  not  you 
Who  gave  me  like  a  fairing  to  my  brother 
With  lofty  condescension  in  your  eyes; 
And  shall  I  call  my  mercenaries  in 
And  bid  them  burn  your  eyes  out  with  hot  irons? 
Eichard  is  gone  —  he'll  never  hear  of  it ! 
An  Earl  that  plays  the  robber  disappears. 
That's  all.     Most  like  he  died  in  some  low  scuflfle 
Out  in  the  greenwood.     I  am  half  inclined 
To  call  for  red-hot  irons  after  all, 
So  that  your  sympathy  with  Saxon  churls 
May  be  more  deep,  you  understand ;  and  then 
It  would  be  sweet  for  you,  alone  and  blind. 
To  know  that  you  could  never  in  this  life 


SHERWOOD  133 

See  Marian's  face  again.     But  no  —  that's  bad. 
Bad  art  to  put  hope's  eyes  out.     It  destroys 
Half  a  man's  fear  to  rob  him  of  his  hope. 
No ;  you  shall  drink  the  dregs  of  it.     Hope  shall  die 
More  exquisite  a  death.     Eobin,  my  friend, 
You  understand  that,  when  I  quit  your  presence, 
This  bare  blank  cell  becomes  your  living  tomb. 
Do  you  not  comprehend  ?     It's  none  so  hard. 
The  doorway  will  be  built  up.     There  will  be 
No  door,  you  understand,  but  just  a  wall, 
Some  six  feet  thick,  of  solid  masonry. 
Nobody  will  disturb  you,  even  to  bring 
Water  or  food.     You'll  starve  —  see  —  like  a  rat. 
Bricked  up  and  buried.     But  you'll  have  time  to  think 
Of  how  I  tread  a  measure  at  the  masque 
To-night,  with  Marian,  while  her  wide  eyes  wonder 
Where  Eobin  is  —  and  old  Fitzwalter  smiles 
And  bids  his  girl  be  gracious  to  the  Prince 
For  his  land's  sake.     Ah,  ha  !  you  wince  at  that ! 
Will  you  not  speak  a  word  before  I  go  ? 
Speak,  damn  you ! 

[He  strikes  Eobin"  across  the  face  with  his  glove.     Eobin 
remains  silent.'] 

Six  days  hence,  if  you  keep  watch 
At  yonder  window  (you'll  be  hungry  then) 
You  may  catch  sight  of  Marian  and  Prince  John 
Wandering  into  the  gardens  down  below. 
You  will  be  hungry  then;  perhaps  you'll  strive 
To  call  to  us,  or  stretch  a  meagre  arm 
Through  those  strong  bars;  but  then  you  know  the  height 
Is  very  great  —  no  voice  can  reach  to  the  earth : 
This  is  the  topmost  cell  in  my  Dark  Tower. 
Men  look  like  ants  below  there.     I  shall  say 
To  Marian,  See  that  creature  waving  there 
High  up  above  us,  level  with  the  clouds, 
Is  it  not  like  a  winter-shrivelled  fly? 
And  she  will  laugh;  and  I  will  pluck  her  roses. 


124  SHERWOOD 

'And  then  —  and  then  —  there  are  a  hundred  ways, 
You  know,  to  touch  a  woman's  blood  with  thoughts 
Beyond  its  lawful  limits.     Ha!  ha!  ha! 
By  God,  you  almost  spoke  to  me,  I  think. 
Touches  at  twilight,  whispers  in  the  dark, 
Sweet  sympathetic  murmurs  o'er  the  loss 
Of  her  so  thoughtless  Eobin,  do  you  think 
Maid  Marian  will  be  quite  so  hard  to  win 
When  princes  come  to  woo?     There  will  be  none 
To  interrupt  us  then.     Time  will  be  mine 
To  practise  all  the  amorous  arts  of  Ovid, 
And,  at  the  last  — 

EOBIN 

Will  you  not  free  my  hands  ? 
You  have  your  sword.     But  I  would  like  to  fight  you 
Here,  with  my  naked  hands.     I  want  no  more. 

PRINCE   JOHN 

Ha !  ha  I    At  last  the  sullen  speaks. 

That's  all 
I  wanted.     I  have  struck  you  in  the  face. 
Is't  not  enough  ?    You  can't  repay  that  blow. 

EOBIN 

Bury  me  down  in  hell  and  I'll  repay  it 
The  day  you  die,  across  your  lying  mouth 
That  spoke  of  my  true  lady,  I  will  repay  it. 
Before  the  face  of  God ! 

PRINCE   JOHN 

[^Laughing.'] 

Meanwhile,  for  me 
Till  you  repay  that  blow,  there  is  the  mouth 
Of  Marian,  the  sweet  honey-making  mouth 
That  shall  forestall  your  phantom  blow  with  balm. 
Oh,  you'll  go  mad  too  soon  if  I  delay. 


SHERWOOD  125 

I  am  glad  you  spoke.     Farewell,  the  masons  wait. 

And  I  must  not  be  late  for  Marian. 

'l^Exit  thro'  the  small  aperture  now  left  in  the  doorway.  It 
is  rapidly  closed  and  sounds  of  heavy  masonry 
being  piled  against  it  are  heard.  Eobin  tries  to 
free  his  hands  and  after  an  effort,  succeeds.  He 
hurls  himself  against  the  doonvay,  and  finds  it 
hopeless.  He  turns  to  the  window,  peers  through 
it  for  a  moment,  then  suddenly  unwinds  a  scarf 
from  his  neck,  ties  it  to  one  of  the  bars  and 
stands  to  one  side.l 

ROBIN 

Too  high  a  shot  for  most  of  my  good  bowmen! 
What's  that?     A  miss? 

\_He  looks  thro'  the  window.'] 

Good  lad,  he'll  try  again ! 
[He  stands  at  the  side  once  more  and  an  arrow  comes  thro' 

the  window.] 
Why,  that's  like  magic ! 

[He  pulls  up  the  thread  attached  to  it.] 

Softly,  or  'twill  break !  — 
Ah,  now  'tis  sturdy  cord. 

—  I'll  make  it  fast. 
But,  how  to  break  these  bars ! 

St.  Nicholas, 
There's  someone  climbing.     He  must  have  a  head 
Of  iron,  and  the  lightness  of  a  cat ! 
Downward  is  bad  enough,  but  up  is  more 
Than  mortal !     Who  the  devil  can  it  be  ? 
Thank  God,  it's  growing  dark.     But  what  a  risk ! 
None  of  my  merry  men  could  e'en  attempt  it. 
I'm  very  sure  it  can't  be  Little  John. 
What,  Shadow-of-a-Leaf ! 

[Shadow-of-a-Leaf  appears  at  the  window.] 

'Fore  God,  dear  faithful  fool, 
I  am  glad  to  see  you. 


136  SHERWOOD 

SHADOW-OF-A-LEAF 

Softly,  gossip,  softly. 
Pull  up  the  rope  a  little  until  we  break 
This  bar  away  —  or  some  kind  friend  may  see 
The  dangling  end  below.     Now  here's  a  toothpick, 
Six  inches  of  grey  steel,  for  you  to  work  with, 
And  here's  another  for  me.     Pick  out  the  mortar ! 

[They  worh  to  loosen  the  hars.^ 
Wait  I     Here's  a  rose  I  brought  you  in  my  cap 
And  here's  a  spray  of  fern !     Old  Nature's  keys 
Open  all  prisons,  I'll  throw  them  in  for  luck, 
[He  throws  them  into  the  cell  and  begins  working  fever- 
ishly again  J\ 
So  that  the  princes  of  the  world  may  know 
The  forest  let  you  out.     Down  there  on  earth, 
If  any  sees  me,  they  will  only  think 
The  creepers  are  in  leaf.     Pick  out  the  mortar! 
That's  how  the  greenwood  works.     You  know,  'twill  thrust 
Its  tendrils  through  these  big  grey  stones  one  day 
And  pull  them  down.     I  noticed  in  the  courtyard 
The  grass  is  creeping  through  the  crevices 
Already,  and  yellow  dandelions  crouch 
In  all  the  crumbling  corners.     Pick  it  out ! 
This  is  a  very  righteous  work  indeed 
For  men  in  Lincoln  green ;  for  what  are  we 
But  tendrils  of  old  Nature,  herald  sprays ! 
We  scarce  anticipate.     Pick  the  mortar  out. 
Quick,  there's  no  time  to  lose,  although  to-night 
We're  in  advance  of  sun  and  moon  and  stars 
And  all  the  trickling  sands  in  Time's  turned  glass. 

[With  a  sudden  cry.^ 
Eichard  is  dead ! 


Is  dead! 


ROBIN 

Eichard  is  dead !     The  King 


SHERWOOD  137 

SHADOW-OF-A-LEAF 

Ah,  dead !     Come,  pick  the  mortar  out, 
Out  of  the  walls  of  towers  and  shrines  and  tombs ! 
For  now  Prince  John  is  King,  and  Lady  Marian 
In  peril,  gossip !     Yet  we  are  in  advance 
Of  sun  and  moon  to-night,  for  sweet  Prince  John 
Is  not  aware  yet  of  his  kinglihood, 
Or  of  his  brother's  death. 

ROBIN 

\_Pausing  a  moment.~\ 

Why,  Shadow-of-a-Leaf, 
What  does  this  mean? 

SHADOW-OF-A-LEAP 

Come,  pick  the  mortar  out; 
You  have  no  time  to  lose.     This  very  night 
My  Lady  Marian  must  away  to  Sherwood. 
At  any  moment  the  dread  word  may  come 
That  makes  John  King  of  England.     Quick,  be  quick! 

EOBIN 

She  is  at  the  masque  to-night ! 

SHADOW-OF-A-LEAF 

Then  you  must  mask 
And  fetch  her  thence!  Ah,  ha,  the  bar  works  loose. 
Pull  it! 

[They  pull  at  the  har,  get  it  free,  and  throw  it  into  the  cell.^ 
Kow,  master,  follow  me  down  the  rope. 
[Exit  Robin  thro'  the  window.'] 

Scene  IV.  Night. 2  The  garden  of  the  King's  palace 
(as  before),  hut  lighted  with  torches  for  the 
masque.  Music  swells  up  and  dies  away  con- 
tinually.    Maskers  pass  to  and  fro  between  the 


128  SHERWOOD 

palace  and  the  garden.     On  the  hroad  terrace  in 
front  some  of  them  are  dancing  a  galliard. 
[Prince  John   enters  and  is  met  by  Queen  Elinor^ 
neither  of  them  masTced.l 

ELINOR 

All  safe? 

PRINCE   JOHN 

Ay,  buried  and  bricked  up  now,  to  think 
Alone,  in  the  black  night,  of  all  I  told  him. 
Thank  God,  we  have  heard  the  last  of  Eobin  Hood. 


You  are  sure? 


ELINOR 

l^8he  puts  on  her  mash.'} 


PRINCE  JOHN 

I  saw  him  entombed  with  my  own  eyes ! 
Six  feet  of  solid  masonry.     [Look  there, 
There's  the  young  knight  you've  lately  made  your  own.J 
Where  is  my  Lady  Marian  ?     Ah,  I  see  her ! 
With  that  old  hypocrite,  Fitzwalter. 
[They  part.    Prince  John  puts  on  his  mash  as  he  goes.^ 

A    LADY 

But  tell  me 
Where  is  Prince  John? 

A    MASKER 

That  burly-shouldered  man 
By  yonder  pillar,  talking  with  old  Fitzwalter, 
And  the  masked  girl,  in  green,  with  red-gold  hair, 
Is  Lady  Marian! 

THE   LADY 

Where  is  Eobin  Hood? 
I  have  never  seen  him,  but  from  all  one  hears 


SHERWOOD  129 

He  is  a  wood-god  and  a  young  Apollo, 
[And  a  more  chaste  Aetaeon  all  in  one. 

MASKER 

Oh,  ay,  he  never  watched  Diana  bathing. 
Or,  if  he  did,  all  Sherwood  winked  at  it. 
Who  knows  ?     Do  you  believe  a  man  and  maid 
Can  sleep  out  in  the  woods  all  night,  as  these 
Have  slept  a  hundred  times,  and  put  to  shame 
Our  first  poor  parents;  throw  tlie  apple  aside 
And  float  out  of  their  leafy  Paradise 
Like  angels? 

LADY 

No;  I  fear  the  forest  boughs 
Could  tell  sad  tales.     Oh,  I  imagine  it  — 
Married  to  Eobin,  by  a  fat  hedge-priest 
Under  an  altar  of  hawthorn,  with  a  choir 
Of  sparrows,  and  a  spray  of  cuckoo-spit 
For  holy  water !     Oh,  the  modest  chime 
Of  blue-bells  from  a  fairy  belfry,  a  veil 
Of  evening  mist,  a  robe  of  golden  hair ; 
A  blade  of  grass  for  a  ring;  a  band  of  thieves 
In  Lincoln  green  to  witness  the  sweet  bans ; 
A  glow-worm  for  a  nuptial  taper,  a  bed 
Of  rose-leaves,  and  wild  thyme  and  wood-doves'  down. 
Quick !     Draw  the  bridal  curtains  —  three  tall  ferns  — 
Across  the  cave  mouth,  lest  a  star  should  peep 
And  make  the  wild  rose  leap  into  her  face ! 
Pish !     A  sweet  maid !     But  where  is  Robin  Hood  ?] 


MASKER 

I  know  not ;  but  he'd  better  have  a  care 

Of  Mistress  Marian.     If  I  know  Prince  John 

He  has  marked  her  for  his  own. 


130  SHERWOOD 

[lady 
What  fascinates  him. 


I  cannot  see 


MASKER 

No,  you  are  right,  nor  I.] 

PRINCE   JOHN 

Come,  Lady  Marian,  let  me  lead  you  out 
To  tread  a  measure. 


I  am  tired. 


MARIAN 

Pray,  sir,  pardon  me ! 


PITZWALTER 

[^Whispering  angrily  to  her.'] 
Now,  Marian,  be  not  so  ungracious. 
[You  both  abuse  him  and  disparage  us. 
His  courtiers  led  the  ladies  they  did  choose. 
Do  not  displease  him,  girl.     I  pray  you,  go ! 
Dance  out  your  galliard.     God's  dear  holy-bread, 
Y'are  too  forgetful.     Dance,  or  by  my  troth. 
You'll  move  my  patience.     I  say  you  do  us  wrong.J 

MARIAN 

I  will  do  what  you  will.     [Lead,  lead  your  dance.] 
[Exeunt  John  and  Marian.] 

[first  masker 

[To  a  lady,  as  they  come  up  from  the  garden."] 
Will  you  not  let  me  see  your  face  now,  sweet  ? 

LADY 

You  hurt  my  lip  with  that  last  kiss  of  yours. 
Hush,  do  not  lean  your  face  so  close,  I  pray  you ; 
Loosen  my  fingers.     There's  my  lord. 


SHERWOOD  131 

FIRST   MASKER 

Where  ?    Where  ? 
Now,  if  I  know  him,  I  shall  know  your  name ! 

LADY 

That  tall  man  with  the  damozel  in  red. 

FIRST    MASKER 

Oh,  never  fear  him.     He,  too,  wore  a  mask! 
I  saw  them  — 

[They  pass  out  talJcing.'] 

SECOND   MASKER 

[^Looking  after  them.l 
Saw  you  those  two  turtle-doves ! 

SECOND   LADY 

Yes. 

SECOND  MASKER 

Come  with  me,  I'll  show  you  where  I  caught  them 
Among  the  roses,  half  an  hour  ago. 
[They  laugh  and  exeunt  into  the  gardens.'J     The  music 

swells  up  and  more  dancers  appear.'] 
[Enter  Eobin  Hood,  still  in  his  foresters  garb,  hut  wear- 
ing a  ma.sk.     He  ivalJcs  as  if  wounded  and  in  pain. 
He  sits  down  in  the  shadow  of  a  pillar  watching, 
and  partly  concealed  from  the  throng.'] 

[third  lady 

Eemember  now  to  say  you  did  not  see  me 
Here  at  the  masque. 

third  MASKER 

Or  shall  I  say  that  I 
Was  out  in  Palestine? 

[They  pass.'J     Enter  little  Arthur  Piantagenet.    He 
comes  up  to  Eobin  Hood.] 


132  SHERWOOD 

ARTHUR 

Are  you  not  Eobin.Hood? 

ROBIN" 

Hush,  Arthur.    Don't  you  see  I  wear  a  mask 
Like  all  the  rest  to-night  ? 

ARTHUR 

Why  do  they  wear 
Masks  ? 

ROBIN 

They  must  always  wear  some  sort  of  mask 
At  court.     Sometimes  they  wear  them  all  their  lives. 

ARTHUR 

You  are  jesting,  Eobin.     Now  I  wanted  you 
To  tell  me  tales  of  Sherwood.     Tell  me  how 
You  saved  Will  Scarlet. 

ROBIN" 

Why,  I've  told  you  that 
A  score  of  times. 

ARTHUR 

I  know,  I  want  to  hear  it 
Again.     Well,  tell  me  of  that  afternoon 
When  Lion-Heart  came  home  from  the  Crusade. 
I  have  often  thought  of  that.     It  must  have  been 
Splendid !     You  weren't  expecting  it  at  all  ? 

ROBIN 

No,  not  at  all;  but,  Arthur,  tell  me  first 
Have  you  see  Lady  Marian  ? 

[ARTHUR 

Yes,  I  saw  her 
Treading  a  measure  with  my  Uncle  John !] 


SHERWOOD  133 


ROBIN 


Stand  where  you  are  and  watch;  and,  if  you  see  her, 
Beckon  her.     Then  I'll  tell  you  how  the  King 
Came  home  from  the  Crusade. 

ARTHUR 

First,  let  me  tell  you 
Just  how  I  think  it  was.     It  must  have  been 
Like  a  great  picture.     All  your  outlaws  there 
Sitting  around  your  throne  of  turf,  [and  you 
Judging  the  rich  and  poor.     That's  how  it  was 
Last  night,  I  dreamed  of  it;  and  you  were  taking 
The  baron's  gold  and  giving  it  to  the  halt 
And  blind ;  and  then  there  was  a  great  big  light 
Between  the  trees,  as  if  a  star  had  come 
Down  to  the  earth  and  caught  among  the  boughs. 
With  beams  like  big  soft  swords  amongst  the  ferns 
And  leaves,  and  through  the  light  a  mighty  steed 
Stepped,  and  the  King  came  home  from  the  Crusade. 
.Was  it  like  that  ?     Was  there  a  shining  light  ? 

ROBIN 

I  think  there  must  have  been,  a  blinding  light. 

ARTHUR 

Filling  an  arch  of  leaves? J 

ROBIN 

Yes! 

[ARTHUR 

That  was  it! 
That's  how  the  King  came  home  from  the  Crusade. 

ROBIN 

But  there  —  you've  told  the  story ! 


134  SHERWOOD 

ARTHUR 

Ah,  not  all! 

ROBIN 

No,  not  quite  all.     What's  that?] 

[The  music  suddenly  stops.     The  mashers  crowd  together 
whispering  excitedly.'] 

ARTHUR 

Why  have  they  stopped 
The  music  ?     [Ah,  there's  Hubert.     Shall  I  ask  him  ? 

ROBIN 

Yes,  quickly,  and  come  back ! 

[Arthur  runs  up  to  a  maslcer.     Several  go  by  hurriedly^ 

FIRST  masker 

The  King  is  dead ! 

[second  masker 
Where  did  it  happen?     France? 

FIRST  MASKER 

I  know  not,  sir ! 
[Arthur  rcturns.'YX 

ARTHUR 

Robin,  they  say  the  King  is  dead !     So  John 
Is  king  now,  is  he  not? 

ROBIN 

Ay,  John  is  king! 
N"ow,  tell  me  quickly,  use  your  eyes,  my  boy, 
Where's  Lady  Marian? 


SHERWOOD  135 

ARTHUR 

Ah,  there  she  is  at  last. 
Alone! 

ROBIN 

Go  to  her  quickly,  and  bring  her  hither. 
[Arthur  runs  off  and  returns  with  Marian.] 

MARIAN 

Eobin,  thank  God,  you  have  returned.     I  feared  — 

ROBIN 

No  more,  dear  heart,  you  must  away  to  Sherwood ! 
Shadow-of-a-Leaf  is  waiting  by  the  orchard 
With  your  white  palfrey.     Away,  or  the  new  king 
Will  hunt  us  down.     I'll  try  to  gain  you  time. 
Go  —  quickly ! 

MARIAN 

Eobin,  your  face  is  white,  you  are  wounded ! 
What's  this  —  there's  blood  upon  your  doublet ! 
Eobin ! 

ROBIN 

N'othing !     Go,  quickly ! 

MARIAN 

Eobin,  I  cannot  leave  you. 

ROBIN 

Go,  Marian.     If  you  ever  loved  me,  go. 


MARIAN 

You'll  follow? 


136  SHERWOOD 

ROBIN 

Oh,  with  my  last  breath  I  will, 
God  helping  me ;  but  I  must  gain  you  time ! 
Quickly !     Here  comes  the  King ! 


MARIAN 


Oh,  follow  soon 


[Exit.] 
[Robin  sits  down  again,  steadying  himself  against  the  pil- 
lar.    John  appears  ^at  the  doors  of  the  palace,  above  the 
terrace^  a  scroll  in  his  hand.'] 

JOHN 

My  friends,  the  King  is  dead ! 

MASKERS 

[Talcing  off  their  masTcs,  with  a  cry.'] 

Long  live  King  John ! 

JOHN 

[Coming  down  amongst  them.] 
Our  masque  is  ended  by  this  grievous  news; 
But  Where's  my  Lady  Marian?     I  had  some  word 
To  speak  with  her !     Not  here !     Wliy  — 

ROBIN 

[Still  mashed,  rises  and  confronts  the  King,  who  stares  at 
him  and  shrinks  bach  a  little.] 

All  the  masks 
Are  off,  sire !     No,  perhaps  they  wear  them  still. 

JOHN 

Wlio  is  this  ? 


SHERWOOD  137 

ROBIN 

One  that  was  dead  and  lives.     You  say 
Your  brother,  the  great  King,  is  dead.     Oh,  sire, 
If  that  be  so,  you'll  hear  a  dead  man  speak. 
For  your  dead  brother's  sake.     You  say  the  King 
Is  dead ;  but  you  are  king.     [So  the  King  lives ! 
You  are  King  of  England  now  from  sea  to  sea. 
Is  it  not  so  ?]     Shout,  maskers,  once  again. 
Long  live  the  King ! 

MASKERS 

Long  live  the  King! 

ROBIN 

You  see 

What  power  is  yours !     Your  smile  is  life,  your  frown 

Death,     At  a  word  from  you  the  solid  earth 

Would  shake  with  tramp  of  armies.     [You  can  call 

Thousands  to  throw  away  their  lives  like  straws 

Upon  your  side,  if  any  foreign  king 

Dare  to  affront  you.] 

[^He  draws  nearer  to  John,  who  still  shrinks  a  little,  as  if  in 
fear.'] 

Eichard,  you  say,  is  dead, 

And  yet,  0  King,  I  say  that  the  great  King 

Lives ! 

IHe  strikes  John  across  the  face.    John  cowers  and  stag- 
gers back.     The  Maskers  draw  their  swords,  the 
women  scream  and  rush  together.     Eobin  turns, 
sword  in  hand,  to  confront  the  Maskers,] 
Back,  fools ;  for  I  say  that  the  great  King 

Lives.     [Do  not  doubt  it.     Ye  have  dreamed  him  dead 

How  often.]     Hark,  God  in  heaven,  ye  know  that  voice. 

\_A  voice  is  heard  drawing  nearer  thro'  the  distant  darkness 
of  the  garden,  singing.  All  listen.  John's  face 
whitens.] 


138  SHERWOOD 

[Song.'] 

Knight,  on  the  narrow  way, 
Where  wouldst  thou  ride? 

"  Onward,"  I  heard  him  say, 
"  Love,  to  thy  side." 

ROBIN 

*Tis  Blondel !     Still  vaunt-courier  to  the  King, 
As  when  he  burst  the  bonds  of  Austria !     Listen ! 
[Song  nearer.'] 

"  Nay,"  sang  a  bird  above, 

"  Stay,  for  I  see 
Death,  in  the  mask  of  love. 

Waiting  for  thee." 

MASKERS 

[Resuming  their  masks  and  muttering  to  one  anotlier.^ 
Can  the  King  live  ?     Is  this  Jolm's  treachery  ?     Look, 
He  is  crushed  with  fear ! 

ROBIX 

Listen !     I'll  go  to  meet  him. 
[Exit  into   the  garden.'] 

MASKERS 

It  was  the  song  of  Blondel!     The  same  song 
He  made  with  Eichard,  long  since !  — 

Blondel's  voice! 
Just  as  we  heard  it  on  that  summer's  night 
When  Lion-Heart  came  home  from  the  Crusade. 
[The  Song  still  drawing  nearer.] 

"  Death !     What  is  Death  ?  "  he  cried. 

"  I  must  ride  on. 
On  to  my  true  love's  side. 

Up  to  her  throne !  " 


SHERWOOD  139 

[Enter  Blondel,  from  the  garden.    He  stands,  startled  by 
the  scene  before  him.l 

MASKERS 

Blondel !     Where  is  the  King  ?     Where  is  the  King  ? 

BLONDEL 

Did  ye  not  know  ?  —  Eichard,  the  King,  is  dead ! 

MASKERS 

Dead! 

JOHN 

Dead!     And  ye  let  the  living  dog  escape 
That  dared  snarl  at  our  sovereignty.     I  know  him, 
Risen  from  the  dead  or  not.     I  know  'twas  he, 
'Twas  Eobin  Hood  !     After  him ;  hunt  him  down ! 
Let  him  not  live  to  greet  another  sun. 
After  him! 

MASKERS 

[Drawing  their  sivords  and  plunging  into  the  darJcness.^ 
After  him ;  hunt  the  villain  down ! 

^[Curtain.'] 


ACT  V 


ACT  V 

Scene  I.    Morning.     Sherwood  Forest  (as  before). 

Little  John  and  some  of  the  Outlaws  are  gath- 
ered together  talking.  Occasionally  they  look 
anxiously  toward  the  cave  and  at  the  approaches 
through  the  wood.'\  Enter  two  Foresters,  run- 
ning  and  br&athleas. 

FIRST  FORESTER 

The  King's  men !     They  are  scouring  thro'  the  wood. 
Two  troops  of  them,  five  hundred  men  in  each 
And  more  are  following. 

SECOND   FORESTER 

We  must  away  from  here 
And  quickly. 

[little   JOHN 

Where  did  you  sight  them  ? 

SECOND   FORESTER 

From  the  old  elm. 
Our  watch-tower.     They  were  not  five  miles  away ! 

FIRST   FORESTER 

Five,  about  five.     We  saw  the  sunlight  flash 
Along,  at  least  five  hundred  men  at  arms ; 
And,  to  the  north,  along  another  line, 
Bigger,  I  think ;  but  not  so  near.] 

SECOND  FORESTER 

Where's  Eobin? 
We  must  away  at  once ! 


144  SHERWOOD 

FIRST   FORESTER 

No  time  to  lose! 

LITTLE   JOHN 

His  wound  is  bitter  —  I  know  not  if  we  dare 
Move  him ! 

FIRST   FORESTER 

His  wound  ? 

LITTLE   JOHN 

Ay,  some  damned  arrow  pierced  him 
When  he  escaped  last  night  from  the  Dark  Tower. 
He  never  spoke  of  it  when  first  he  reached  us ; 
And,  suddenly,  he  swooned.     £He  is  asleep 
Now.     He  must  not  be  wakened.     They  will  take 
Some  time  yet  ere  they  thread  our  forest-maze. 

FIRST    FORESTER 

Not  long,  by  God,  not  long.     They  are  moving  fast.] 
[Marian  appears  [ai  the  mouth  of  the  cave.     All  turn  to 
look  at  her,  expectantly.     She  seems  in  distress.^ 

MARIAN 

He  is  tossing  to  and  fro.     I  think  his  wound 
Has  taken  fever !     What  can  we  do  ?3 

FRIAR   TUCK 

I've  sent 
A  messenger  to  Kirklee  Priory, 

Where  my  old  friend  the  Prioress  hath  store  * 

Of  balms  and  simples,  and  hath  often  helped 
A  wounded  forester.     Could  we  take  him  there. 
Her  skill  would  quickly  heal  him. 

MTTLE   JOHN 

The  time  is  pressing ! 


SHERWOOD  145 

FRIAR  TUCK 

The  lad  will  not  be  long ! 

[EoBiN  appears  tottering  and  white  Xat  the  mouth  of  the 
cave.'W 

MARIAN 

[Running  to  him.'] 

0  Eobin,  Eobin, 
You  must  not  rise!     Your  wound! 


ROBIN 

\He  speaTcs  feverishly.'] 

Where  can  I  rest 
Better  than  on  my  greenwood  throne  of  turf? 
[Friar,  I  heard  them  say  they  had  some  prisoners. 
Bring  them  before  me. 

FRIAR  TUCK 

Master,  you  are  fevered, 


And  they  can  wait. 

ROBIN 

Yes,  yes;  but  there  are  some 
That  cannot  wait,  that  die  for  want  of  food, 
And  then  —  the  Norman  gold  will  come  too  late, 
Too  late. 

LITTLE   JOHN 

0  master,  you  must  rest. 

\_Going  up  to  him.] 

MARIAN 

Oh,  help  me. 
Help  me  with  him.     Help  me  to  lead  him  back.] 


146  SHERWOOD 

ROBIN 

No !     No !    You  must  not  touch  me !     [I  will  rest 
When  I  have  seen  the  prisoners,  not  before.] 

LITTLE   JOHN 

He  means  it,  mistress,  better  humour  him 
Or  he  will  break  his  wound  afresh. 

MARIAN 

0  Eobin, 
Give  me  j^our  word  that  you'll  go  back  and  rest, 
[When  you  have  seen  them.] 

ROBIN 

Yes,  I  will  try,  I  will  try ! 
But  oh,  the  sunlight !     Where  better,  sweet,  than  this  ? 
l_She  leads  him  to  the  throne  of  turf  and  he  sits  down  upon 

it,  with  Marian  at  his  side.] 
The  Friar  is  right.     This  life  is  wine,  red  wine, 
Under  the  greenwood  boughs !     Oh,  still  to  keep  it, 
One  little  glen  of  justice  in  the  midst 
Of  multitudinous  wrong.     Who  knows?     We  yet 
May  leaven  the  whole  world. 
[*  Enter  the  Outlaws,  with  several  prisoners,  among  them, 

a  Knight,  an  Abbot,  and  a  Forester.] 

These  are  the  prisoners? 
You  had  some  victims  of  the  forest  laws 
That  came  to  you  for  help.     Bring  them  in,  too. 
And  set  them  over  against  these  lords  of  the  earth! 
l^Some  ragged  women  and  children  appear.     Several  serfs 

with  iron  collars  round  their  necks  and  their  eyes 

put  out,  are  led  gently  in.'] 
Is  that  our  Lincoln  green  among  the  prisoners? 
There  ?     One  of  my  own  band  ? 

*  In   acting  omit  text  from  this  point  to  end  of  scene  with 
prisoners,  p.  152, 


SHERWOOD  14? 

LITTLE  JOHN 

Ay,  more's  the  pity ! 
We  took  him  out  of  pity,  and  he  has  wronged 
Our  honour,  sir;  he  has  wronged  a  helpless  woman 
Entrusted  to  his  guidance  thro'  the  forest. 

ROBIN 

Ever  the  same,  the  danger  comes  from  those 
We  fight  for,  those  below,  not  those  above ! 
Which  of  you  will  betray  me  to  the  King? 

THE  FORESTER 

Do  you  ask  me,  sir  ? 

ROBIN 

Judas  answered  first. 
With  "  Master,  is  it  I  ?  "     Hang  not  thy  head ! 
What  say'st  thou  to  this  charge? 

THE  PORESTER 

Why,  Friar  Tuck 
Can  answer  for  me.     Do  you  think  he  cares 
Less  for  a  woman's  lips  than  I  ? 

FRIAR  TUCK 

Cares  less. 
Thou  rotten  radish  ?     Xay,  but  a  vast  deal  more  ! 
God's  three  best  gifts  to  man, —  woman  and  song 
And  wine,  what  dost  thou  know  of  all  their  joy? 
Thou  lean  pick-purse  of  kisses  ? 

ROBIN 

Take  him  out, 
Friar,  and  let  him  pack  his  goods  and  go, 
Whither  he  will.     I  trust  the  knave  to  thee 
And  thy  good  quarter-staff,  for  some  five  minutes 
Before  he  says  "  Farewell." 


148  SHERWOOD 

FRIAR 

Bring  him  along, 
Give  him  a  quarter-staff,  I'll  thrash  him  roundly. 
[He  goes  out.     Two  of  the  Foresters  follow  with  the 
prisoner.    Others     bring     the     Abbot     before 

EOBIN.] 

ROBIN 

Ah !     Ha !     I  know  him,  the  godly  usurer 
Of  York ! 

We  saw  a  woman  beg  for  alms, 
One  of  the  sufferers  by  the  rule  which  gave 
This  portly  Norman  his  fat  priory 
And  his  abundant  lands.     We  heard  him  say 
That  he  was  helpless,  had  not  one  poor  coin 
To  give  her,  not  a  scrap  of  bread !     He  wears 
Purple  beneath  his  cloak :  his  fine  sleek  palfrey 
Flaunted  an  Emperor's  trappings ! 

ABBOT 


Must  keep  her  dignity! 


Man,  the  Church 


ROBIK" 

[Pointing  to  the  poor  woman,  etc.'] 
Ay,  look  at  it ! 
There  is  your  dignity !     And  you  must  wear 
Silk  next  your  skin  to  show  it.     But  there  was  one 
You  call  your  Master,  and  He  had  not  where 
To  lay  His  head,  save  one  of  these  same  trees ! 

ABBOT 

Do  you  blaspheme !     I  pray  you,  let  me  go ! 
There  are  grave  matters  waiting.    I  am  poor ! 

ROBIN 

Look  in  his  purse  and  see. 


SHERWOOD  149 

ABBOT 

IHurriedly.'] 

I  have  five  marks 
In  all  the  world,  no  more.     I'll  give  them  to  you ! 

ROBIN 

Look  in  his  purse  and  see. 

[They  pour  a  heap  of  gold  out  of  his  purse.'] 

ROBIN 

Five  marks,  indeed! 
Here's,  at  the  least,  a  hundred  marks  in  gold ! 

ABBOT 

That  is  my  fees,  my  fees ;  you  must  not  take  them ! 

ROBIN 

The  ancient  miracle!  —  five  loaves,  two  small  fishes; 
And  then  —  of  what  remained  —  they  gathered  up 
Twelve  basketsful! 

ABBOT 

Oh,  you  blaspheming  villains! 

ROBIN 

Abbot,  I  chance  to  know  how  this  was  wrought, 

This  miracle ;  wrought  with  the  blood,  anguish  and  sweat 

Of  toiling  peasants,  while  the  cobwebs  clustered 

Around  your  lordly  cellars  of  red  wine. 

Give  him  his  five  and  let  him  go. 

ABBOT 

[Going  out.'] 

The  King 
Shall  hear  of  this !     The  King  will  hunt  you  down ! 


150  SHERWOOD 

ROBIN" 


And  now  —  the  next! 


Your  wound  will 


SCARLET 

Beseech  you,  sir,  to  rest. 

ROBIN 

No !  ■  The  next,  show  me  the  next ! 


SCARLET 

This  Norman  baron  — 

ROBIX 

What,  another  friend ! 
Another  master  of  broad  territories. 
How  many  homes  were  burned  to  make  you  lord 
Of  half  a  shire  ?     What  hath  he  in  his  purse  ? 

SCARLET 

Gold  and  to  spare ! 

BARON 

To  keep  up  mine  estate 


I  need  much  more. 


I  am  not  rich. 


ROBIX 

[Pointing  to  the  poor.'] 

Ay,  you  need  these !  these !  these ! 

BARON 

\_Protesting.'] 

ROBIN 

Look  in  his  purse  and  see. 


SHERWOOD  151 

BARON 

You  dogs,  the  King  shall  hear  of  it ! 

ROBIN" 

\_Murmuring  as  if  to  himself. 1 

Five  loaves ! 
And  yet,  of  what  remained,  they  gathered  up 
Twelve  basketsful.     The  bread  of  human  kindness 
Goes  far !     Oh,  I  begin  to  see  new  meanings 
In  that  old  miracle !     How  much  ?     How  much  ? 

SCARLET 

Five  hundred  marks  in  gold ! 

ROBIN 

[Half  rising  and  speaking  with  a  sudden  passion^ 

His  churls  are  starving. 
Starving !     Their  little  children  cry  for  bread  ! 
One  of  those  jewels  on  his  baldric  there 
Would  feed  them  all  in  plenty  all  their  lives! 
Five  loaves  —  and  yet  —  and  yet  —  of  what  remained. 
The  fragments,  mark  you,  twelve  great  basketsful! 

BARON 

I  am  in  a  madman's  power !     The  man  is  mad ! 

ROBIN 

Take  all  he  has,  all  you  can  get.     To-night, 
When  all  is  dark  (we  must  have  darkness,  mind. 
For  deeds  like  this)  blind  creatures  will  creep  out 
With  groping  hands  and  gaping  mouths,  lean  arms. 
And  sbrivelled  bodies,  branded,  fettered,  lame. 
Distorted,  horrible;  and  they  will  weep 
Great  tears  like  gouts  of  blood  upon  our  feet. 
And  we  shall  succour  them  and  make  them  think 
(That's  if  you  have  not  mangled  their  poor  souls 


152  SHERWOOD 

As  well,  or  burned  their  children  with  their  homes), 
We'll  try  to  make  them  think  that  some  few  roods 
Of  earth  are  not  so  bitter  as  hell  might  be. 
Are  you  not  glad  to  think  of  this  ?     Nay  —  go  — 
Or  else  your  face  will  haunt  me  when  I  die ! 
Take  him  quickly  away.     The  next !     The  next ! 
0  God!] 

[Flings  up  Ms  arms  and  falls  fainting.'] 

MARIAN 

[Bending  over  him.'] 
0  Eobin  !     Eobin !     Help  him  quickly. 
The  wound !     The  wound ! 

[They  gather  round  Eobin.  [T/ie  Outlaws  come  back 
with  the  captive  Forester,  his  pack  upon  his 
lack.] 

FRIAR   TUCK 

[To  the  Forester.] 

Now,  get  you  gone  and  quickly ! 
What,  what  hath  happened  ? 

[Friar  Tuck  and  the  Outlaws  join  the  throng  round 
Eobin.  The  Forester  shakes  his  fist  at  them 
and  goes  across  the  glade  muttering.'^  The  Mes- 
senger from  Kirklee  Priory  comes  out  of  the 
forest  at  the  same  moment  ^and  speaks  to  him, 
not  knowing  of  his  dismissal.]'\ 

MESSENGER 

All's  well !    Eobin  can  come 
To  Kirklee.     Our  old  friend  the  Prioress 
Is  there,  and  faithful!     They've  all  balms  and  simples 
To  heal  a  wound. 


FORESTER 

[Staring  at  him.] 


To  Kirklee? 


SHERWOOD  153 

MESSENGER 

Yes,  at  sunset, 
We'll  take  him  to  the  borders  of  the  wood 
All  will  be  safe. 
Where  he  can  steal  in  easily,  alone, 

FORESTER 

The  King's  men  are  at  hand ! 

MESSENGER 

Oh,  but  if  we  can  leave  him  there,  all's  safe ; 
We'll  dodge  the  King's  men. 

FORESTER 

When  is  he  to  go? 

MESSENGER 

[Almost]  at  once;  but  he  must  not  steal  in 
Till  sundown,  when  the  nuns  are  all  in  chapel. 
[How  now?    What's  this?    What's  this?] 

l^He  goes  across  to  the  throng  round  Eobin.] 

[forester 

[LooTcing  after  him.l 
Alone,  to  Kirklee!] 

[Exit.'l 


Scene  II.  A  room  in  Kirhlee  Priory.  A  window  on  the 
right  overlooks  a  cloister  leading  up  to  the  chapel 
door.  The  forest  is  seen  in  the  distance,  the  sun 
beginning  to  set  behind  it.  The  Prioress  and  a 
Novice  are  sitting  [m  a  window-seatJi  engaged 
in  broidery  work. 

NOVICE 

He  must  be  a  good  man  —  this  Eobin  Hood ! 

I  long  to  see  him.     Father  use  to  say 

England  had  known  none  like  him  since  the  days  • 

Of  Hereward  the  Wake. 

PRIORESS 

He  will  be  here 
By  vespers.     You  shall  let  him  in.     Who's  that? 
Can  that  be  he?     It  is  not  sundown  yet. 
See  who  is  there. 

lExit  Novice.    She  returns  excitedly.'] 

NOVTCE 

A  lady  asks  to  see  you ! 
She  is  robed  like  any  nun  and  yet  she  spoke 
Like  a  great  lady  —  [one  that  is  used  to  rule 
More  than  obey ;  and  on  her  breast  I  saw 
A  ruby  smouldering  like  a  secret  fire 
Beneath  her  cloak.J     She  bade  me  say  she  came 
On  Robin  Hood's  behest. 

PRIORESS 

What  ?    Bring  her  in 
Quickly. 

154 


SHERWOOD  155 

[Exit  Novice  and  returns  with  Queen  Elinor  in  a  nun's 
garh.  At  the  sign  from  the  Pkioress  the  Nov- 
ice retires.] 

ELINOR 

Madam,  I  come  to  beg  a  favour. 
I  am  a  friend  of  Eobin  Hood.     I  have  heard  — 
[One  of  his  Foresters,  this  very  noon 
Brought  me  the  news — ]  that  he  is  sorely  wounded; 
And  purposes  to  seek  your  kindly  help 
'At  Kirklee  Priory. 

PRIORESS 

Oh,  then  indeed. 
You  must  be  a  great  friend,  for  this  was  kept 
Most  secret  from  all  others. 

ELINOR 

A  great  friend ! 
He  was  my  page  some  fifteen  years  ago, 
[And  all  his  life  I  have  watched  over  him 
As  if  he  were  my  son !]     I  have  come  to  beg 
A  favour  —  let  me  see  him  when  he  comes. 
My  husband  was  a  soldier,  and  I  am  skilled 
In  wounds.     [In  Palestine  I  saved  his  life 
When  every  leech  despaired  of  it,  a  wound 
Caused  by  a  poisoned  arrow.J 

PRIORESS 

You  shall  see  him. 
[I  have  some  skill  myself  in  balms  and  simples. 
But,  in  these  deadlier  matters  I  would  fain 
Trust  to  your  wider  knowledge.J 

ELINOR 

Let  me  see  him  alone ; 
Alone,  you  understand.     [His  mind  is  fevered. 


156  SHERWOOD 

I  have  an  influence  over  him.]     Do  not  say 
That  I  am  here,  or  aught  that  will  excite  him. 
[Better  say  nothing  —  lead  him  gently  in, 
And  leave  him.     In  my  hands  he  is  like  a  child.] 

PRIORESS 

It  shall  be  done.     [I  see  you  are  subtly  versed 
In  the  poor  workings  of  our  mortal  minds. 

ELINOR 

I  learnt  much  from  a  wise  old  Eastern  leech 
When  I  was  out  in  Palestine. 

PRIORESS 

I  have  heard 
They  have  great  powers  and  magic  remedies; 
They  can  restore  youth  to  the  withered  frame. 

ELINOR 

There  is  only  one  thing  that  they  cannot  do. 

PRIORESS 

And  what? 

ELINOR 

They  cannot  raise  the  dead. 

PRIORESS 

Ah,  no ; 

I  am  most  glad  to  hear  you  say  it,  most  glad 
To  know  we  think  alike.     That  is  most  true  — 
Yes  —  yes  —  most  true ;  for  God  alone,  dear  friend, 
Can  raise  the  dead !] 

[A  hell  begins  tolling  slowly.'] 
The  bell  for  even-song ! 
You  have  not  long  to  wait. 

\_81iadowy  figures  of  nuns  pass  the  windows  and  enter  the 
chapel.     The  sunset  deepens.] 


SHERWOOD  157 

Will  you  not  pray 
With  me? 

[The  Prioress  and  Queen  Elinor  kneel  down  together 
before  a  little  shrine.    Enter  the  Novice.] 

NOVICE 

There  is  a  forester  at  the  door. 
Mother,  I  think  'tis  he ! 

PRIORESS 

[Rising. 1 
Admit  him,  then. 

ELINOR 

Leave  me :  I  will  "keep  praying  till  he  comes. 

PRIORESS 

You  are  trembling !    You  are  not  afraid  ? 

ELINOR 

[With  eyes  closed  as  in  strenuous  devotion.li 

No ; no ; 
Leave  me,  I  am  but  praying ! 

[A  chant  swells  up  in  the  chapel.  Exit  Prioress.  Eli- 
nor continues  muttering  as  in  prayer.  Enter 
EoBiN  Hood,  steadying  himself  on  his  bow,  weak 
and  white.  She  rises  and  passes  between  him  and 
the  door  to  confront  him.] 

ELINOR 

Ah,  Eobin,  you  have  come  to  me  at  last 

For  healing.     Pretty  Marian  cannot  help  you 

With  all  her  kisses. 

ROBIN    HOOD 

[Staring  at  her  wildly.] 
You  !     I  did  not  know 


158  SHERWOOD 

That  you  were  here.     I  did  not  ask  your  help. 

I  must  go  —  Marian ! 

l^He  tries  to  reach  the  door,  hut  reels  in  a  half  faint  on  the 
way.  Elinor  supports  him  as  he  pauses,  pant- 
ing for  breath.^ 

ELINOR 

Eobin,  your  heart  is  hard, 
Both  to  yourself  and  me.     You  cannot  go, 
Rejecting  the  small  help  which  I  can  give 
As  if  I  were  a  leper.     [Ah,  come  back. 
Are  you  so  unforgiving  ?     God  forgives ! 
Did  you  not  see  me  praying  for  your  sake? 
Think,  if  you  think  not  of  yourself,  oh,  think 
Of  Marian  —  can  you  leave  her  clinging  arms 
Yet,  for  the  cold  grave,  Robin  ?J     I  have  risked 
Much,  life  itself,  to  bring  you  help  this  day ! 
I  have  some  skill  in  wounds. 

[She  holds  him  closer  and  brings  her  face  near  to  his  own, 
looking  into  his  eyes.^ 

[Ah,  do  you  know 
How  slowly,  how  insidiously  this  death 
Creeps,  coil  by  tightening  coil,  around  a  man, 
When  he  is  weak  as  you  are  ?     Do  you  know 
How  the  last  subtle  coil  slips  round  your  throat 
And  the  flat  snake-like  head  lifts  up  and  peers 
With  cruel  eyes  of  cold,  keen  inquisition, 
Eivetting  your  own,  until  the  blunt  mouth  sucks 
Your  breath  out  with  one  long,  slow,  poisonous  kiss?] 

ROBIN   HOOD 

[0  God,  that  nightmare ! J    Leave  me !    Let  me  go ! 

ELINOR 

[You  stare  at  me  as  if  you  saw  that  ''snake. 

Ha  !     Ha !     Your  nerves  are  shaken ;  you  are  so  -weak ! J 


SHERWOOD  159 

You  cannot  go!    What!     Fainting?    Ah,  rest  here 

Upon  this  couch. 

IShe  half  supports,  half  thriists  him  hack  to  a  couch  [in- 

an  alcove  out  of  sight  and  draws  a  curtain.'^ 

There  is  a  hnoch  at  the  door.^ 

ELINOR 

Who's  there? 

PEIORESS 

Madam,  I  came 
To  know  if  I  could  help  in  anything. 

ELIISrOR 

Nothing !     His  blood  runs  languidly.     It  needs 

The  pricking  of  a  vein  to  make  the  heart 

Beat,  and  the  sluggish  rivers  flow.     I  have  brought 

A  lance  for  it.     I'll  let  a  little  blood. 

Not  over-much ;  enough,  enough  to  set 

The  pulses  throbbing. 

PRIORESS 

Maid  Marian  came  with  him. 
She  waits  without  and  asks  — 

ELINOR 

Let  her  not  come 
Near  him  till  all  is  done.     Let  her  not  know 
Anything,  or  the  old  fever  will  awake. 
I'll  lance  his  arm  now ! 

[The  Prioress  closes  the  door.  [Elinor  goes  into  the  al- 
cove.'J  The  chant  from  the  chapel  swells  up 
again.  Queen  Elinor  ^comes  out  of  the  alcove,^ 
white  and  tremlling.  She  speaks  in  a  low  whis- 
per as  she  looks  hack.l 
Now,  trickle  down,  sweet  blood.  Grow  white,  fond  lips 
That  have  kissed  Marian  —  [yet,  she  shall  not  boast 


160  SHERWOOD 

You  kissed  her  last;  for  I  will  have  you  wake 

To  the  fierce  memory  of  this  kiss  in  heaven 

Or  burn  with  it  in  hell ;] 

[She  kneels  down  as  if  to  hiss  the  face  of  EoBiN,  ^within. 
The  chant  from~  the  chapel  swells  up  more 
loudly."}^  The  door  slowly  opens.  Marian  steals 
in.     Elinor  rises  and  confronts  her.'] 

ELINOR 

[Laying  a  hand  upon  Eobin's  how  heside  her.'] 
Hush !     Do  not  wake  him ! 

MARIAN 

[In  a  low  voice.'] 
What  have  you  done  with  him  ? 

ELINOR 

[As  Marian  advances  towards  the  couch.'] 

He  is  asleep. 
Hush !  Not  a  step  further !  Stay  where  you  are !  His  life 
Hangs  on  a  thread. 

MARIAN 

Why  do  you  stare  upon  me? 
What  have  you  done  ?     What's  this  that  trickles  down  — 

l[Stoops  to  the  floor  and  leaps  hack  with  a  scream. 
It  is  blood.     You  have  Idlled  him ! 

ELINOR 

[Seizes  the  how  and  shoots.     Marian  falls.] 

[Follow  him  —  down  to  hell. 
King  John  will  find  you  there.] 

[Exit.     The  scene  grows  dark.] 

MARIAN 

[Lifts  up  her  head  with  a  groan.] 

I  am  dying,  Eobin ! 


SHERWOOD  161 

[0  God,  I  cannot  wake  him !]     Eobin !     Eobin ! 

[Give  me  one  word  to  take  into  the  dark ! 

He  will  not  wake !     He  will  not  wake !     0  God, 

Help  him!] 

IShe  falls  hack  unconscious.  Shadow-of-a-Leaf,  a  green 
spray  in  his  hand,  opens  the  casement  and  stands 
for  a  moment  in  the  window  against  the  last  glow 
of  sunset,  then  enters  and  runs  to  the  side  of 
Eobin.] 

shadow-of-a-leap 

[Hurriedly.'] 
Awake,  awake,  Eobin,  awake! 
The  forest  waits  to  help  you !     All  the  leaves 
Are  listening  for  your  bugle.     Ah,  where  is  it? 
[Let  but  one  echo  sound  and  the  wild  flowers 
Will  break  thro'  these  grey  walls  and  the  green  sprays 
Drag  down  these  deadly  towers.     Wake,  Eobin,  wake. 
And  let  the  forest  drown  the  priest's  grey  song 
With  happy  murmurs.]     Eobin,  the  gates  are  open 
For  you  and  Marian !     All  I  had  to  give 
I  have  given  to  thrust  them  open,  the  dear  gates 
Of  fairyland  which  I  shall  never  pass 
Again.     I  can  no  more,  I  am  but  a  shadow, 
Dying  as  mortals  die !     It  is  not  I 
That  calls,  not  I,  but  Marian.     Hear  her  voice! 
Eobin,  awake ! 
0  master  mine,  farewell! 

lExit  lingeringly  through  the  casement.'j 

ROBIN 

[Eobin  [is  dimly  seen  in  the  mouth  of  the  alcove,     jffej 

stretches  out  his  hands  blindly  in  the  darh.] 
Marian !     Why  do  you  call  to  me  in  dreams  ? 
[Why  do  you  call  me  ?     I  must  go.     What's  tliis  ?J 
Help  me,  kind  God,  for  I  must  say  [one  word. 


162  SHERWOOD 

Only  one  word]  —  good-bye  —  to  Marian, 

To  Marian  —  Ah,  too  weak,  too  weak ! 

[He  sees  the  darh  body  of  Marian  and  utters  a  cry,  falling 
on  his  knees  beside  herj] 

0  God, 

Marian !     Marian ! 

My  bugle !     Ah,  my  bugle ! 

[He  rises  to  his  feet  and,  drowning  the  distant  organ- 
music,  he  blows  a  resounding  forest-call.  It  is 
answered  by  several  in  the  forest.  He  falls  on 
his  knees  by  Maeian  and  takes  her  in  his  arms.^ 

0  Marian,  Marian,  who  hath  used  thee  so  ? 

MARIAN 

Eobin,  it  is  my  death-wound.     [Ah,  come  close.] 

ROBIN 

Marian,  Marian,  what  have  they  done  to  thee? 
[T/te  Outlaws  are  heard  thundering  at  the  gates  with 
cries.]^ 

OUTLAWS 

Eobin!     Eobin!     Eobin!     Break  down  the  doors. 

[T/ie  terrified  nuns  stream  past  the  window,  oid  of  the 

chapel.     The  Outlaws  ru£:h  into  the  room.    The 

scene  still  darkens.'] 

scarlet 
Robin  and  Marian ! 

[little  JOHN 

Christ,  what  devil's  hand 
Hath  played  the  butcher  here  ?     Quick,  hunt  them  down. 
They  passed  out  yonder.     Let  them  not  outlive 
Our  murdered  king  and  queen. 


SHERWOOD  163 

REYNOLD  GEEENLEAP 

0  Robin,  Eobin, 
Who  shot  this  bitter  shaft  into  her  breast  ? 

[^Several  stoop  and  Jcneel  by  the  two  lovers.yX 

EOBIN   HOOD 

[Speak  to  me,  Marian,  speak  to  me,  only  speak ! 

Just  one  small  word,  one  little  loving  word 

Like  those  —  do  you  remember  ?  —  you  have  breathed 

So  many  a  time  and  often,  against  my  cheek. 

Under  the  boughs  of  Sherwood,  in  the  dark 

At  night,  with  nothing  but  the  boughs  and  stars 

Between  us  and  the  dear  God  up  in  heaven !  J 

0  God,  why  does  a  man's  heart  take  so  long 

To  break?     It  would  break  sooner  if  you  spoke 

A  word  to  me,  a  word,  one  small  kind  word. 

[maeian 
Sweetheart ! 

ROBIN 

Sweetheart !     You  have  broken  it,  broken  it !     Oh,  kind, 
Kind  heart  of  Marian !] 

MARIAN 

Eobin,  come  soon ! 
[Dies.^ 

EOBIN 

Soon,  sweetheart !     [Oh,  her  sweet  brave  soul  is  gone ! J 
Marian,  I  follow  quickly ! 

[SCAELET 

God,  Kirklee 
Shall  bum  for  this !] 


164  SHERWOOD 

LITTLE  JOHN" 

Kirklee  shall  burn  for  this ! 

0  master,  master,  you  shall  be  avenged! 

EOBiisr 

No ;  let  me  stand  upright !     Your  hand,  good  Scarlet ! 
We  have  lived  our  lives  and  God  be  thanked  we  go 
Together  thro'  this  darkness.     £We  shall  wake 
Please  God,  together.    It  is  growing  darker ! 

1  cannot  see  your  faces.J     Give  me  my  bow 
Quickly  into  my  hands,  for  my  strength  fails 
And  I  must  shoot  one  last  shaft  on  the  trail 
Of  yonder  setting  sun,  never  to  reach  it! 
But  where  this  last,  last  bolt  of  all  my  strength, 
My  hope,  my  love,  shall  fall,  there  bury  us  both. 
Together,  and  tread  the  green  turf  over  us ! 
The  bow ! 

[Scarlet  hands  him  his  how.  He  stands  against  the 
faint  glow  of  the  window,  draws  the  bow  to  full 
length,  shoots  and  falls  back  into  the  arms  of 
Little  John.] 

little  john 

[Laying  him  down.l 
[Weep,  England,  for  thine  outlawed  lover. 
Dear  Eobin  Hood,  the  poor  man's  friend,  is  dead.] 
[The  scene  becomes  quite  dark.     Then  out  of  the  darkness, 
and  as  if  at  a  distance,  the  voice  of  Shadow-of-a- 
Leaf  is  heard  singing  the  fairy  song  of  the  first 
scene.     The  fairy  glade  in  Sherwood  begins  to  be 
visible  in  the  gloom  by  the  soft  light  of  the  ivory 
gates  which  are  swinging  open  once  more  among 
the  ferns.    As  the  scene  grows  clearer  the  song  of 
Shadow-of-a-Leaf  grows  more  and  more  trium- 
phant and  is  gradually  caught  up  by  the  chorus  of 
the  fairy  host  within  the  woods.^ 


SHERWOOD  165 

[Song  of  Shadow-of-a-Leaf] 

I 

The  Forest  has  conquered!     The  Forest  has  conquered! 
The  Forest  has  conquered! 
The  world  begins  again! 
And  0,  the  red  of  the  roses, 
And  the  rush  of  the  healing  rain ! 

II 

The  Forest  has  conquered!     The  Forest  has  conquered! 
The  Forest  has  conquered ! 

The  Princess  wakes  from  sleep; 
For  the  soft  green  keys  of  the  wood-land 
Have  opened  her  donjon-keep! 

Ill 

The  Forest  has  conquered!     The  Forest  has  conquered! 
The  Forest  has  conquered ! 

Their  grey  walls  hemmed  us  round; 
But,  under  my  greenwood  oceans, 

Their  castles  are  trampled  and  drowned. 

IV 

The  Forest  has  conquered!     The  Forest  has  conquered! 
The  Forest  has  conquered !  , 

My  green  sprays  climbed  on  high. 
And  the  ivy  laid  hold  on  their  turrets 
And  haled  them  down  from  the  sky ! 


The  Forest  has  conquered!     The  Forest  has  conquered! 
The  Forest  has  conquered ! 

They  were  strong !     They  are  overthrown ! 
For  the  little  soft  hands  of  the  wild-flowers 
Have  broken  them,  stone  by  stone. 


166  SHERWOOD 

VI 

The  Forest  has  conquered!     The  Forest  has  conquered! 
The  Forest  has  conquered! 

Though  Eobin  lie  dead,  lie  dead, 
And  the  green  turf  by  Kirklee 
Lie  light  over  Marian's  head, 

VII 

Green  ferns  on  the  crimson  sky-line, 

What  bugle  have  you  heard? 
Was  it  only  the  peal  of  the  blue-bells. 
Was  it  only  the  call  of  a  bird? 

VIII 

The  Forest  has  conquered!     The  Forest  has  conquered! 
The  Forest  has  conquered! 

The  rose  o'er  the  f ortalice  floats ! 
My  nightingales  chant  in  their  chapels. 
My  lilies  have  bridged  their  moats ! 

IX 

The  Forest  has  conquered!     The  Forest  has  conquered! 
The  Forest  has  conquered! 

Kmg  Death,  in  the  light  of  the  sun. 
Shrinks  like  an  elfin  shadow ! 
His  reign  is  over  and  done! 

X 

The  hawthorn  whitens  the  wood-land; 
My  lovers,  awake,  awake, 
Shake  off  the  grass-green  coverlet, 
Glide,  bare-foot,  thro'  the  brake  I 


SHERWOOD  167 

XI 

The  Forest  has  conquered!     The  Forest  has  conquered! 
The  Forest  has  conquered ! 

And,  under  the  great  green  boughs, 
I  have  found  out  a  place  for  my  lovers, 
I  have  built  them  a  beautiful  house. 

XII 

Green  ferns  in  the  dawn-red  dew-fall, 

This  gift  by  my  death  I  give, — 
They  shall  wander  immortal  thro'  Sherwood ! 
In  my  great  green  house  they  shaU  live ! 

XIII 

The  Forest  has  conquered!     The  Forest  has  conquered! 
The  Forest  has  conquered ! 

When  the  first  wind  blows  from  the  South, 
They  shall  meet  by  the  Gates  of  Faerie! 
She  shall  set  her  mouth  to  his  mouth ! 

XIV 

He  shall  gather  her,  fold  her  and  keep  her ; 

They  shall  pass  thro'  the  Gates,  they  shall 
live! 
For  the  Forest,  the  Forest  has  conquered ! 
This  gift  by  my  death  I  give ! 

XV 

The  Forest  has  conquered!     The  Forest  has  conquered! 
The  Forest  has  conquered ! 
The  world  awakes  anew ; 
And  0,  the  scent  of  the  hawthorn. 
And  the  drip  of  the  healing  dew ! 


168  SHERWOOD 

[The  song  ceases.    Titania  and  Oberon  come  out  into 
the  moonlit  glade.'\ 

OBERON 

Yet  one  night  more  the  gates  of  fairyland 
Are  opened  by  a  mortal's  kindly  deed. 
But  Eobin  Hood  and  Marian  now  are  driven 
As  we  shall  soon  be  driven,  from  the  world 
Of  cruel  mortals. 

TITANIA 

Mortals  call  them  dead; 
Oberon,  what  is  death? 

OBERON 

Only  a  sleep. 
But  these  may  dream  their  happy  dreams  in  death 
Before  they  wake  to  that  new  lovely  life 
Beyond  the  shadows;  for  poor  Shadow-of-a-Leaf 
Has  given  them  this  by  love's  eternal  law 
Of  sacrifice,  and  they  shall  enter  in 
To  dream  their  lover's  dream  in  fairyland. 

TITANIA 

And  Shadow-of-a-Leaf? 

OBERON 

He  cannot  enter  now. 
The  gates  are  closed  against  him. 

TITANIA 

But  is  this 
For  ever? 

OBERON 

We  fairies  have  not  known  or  heard 
What  waits  for  those  who,  like  this  wandering  Fool, 


SHERWOOD  169 

Throw  all  away  for  love.     But  I  have  heard 
There  is  a  great  King,  out  beyond  the  world, 
Not  Eichard,  who  is  dead,  nor  yet  King  John; 
But  a  great  King  who  one  day  will  come  home 
Clothed  with  the  clouds  of  heaven  from  His  Crusade. 


TITANIA 

The  great  King! 

[OBEKON 

Hush,  the  poor  dark  mortals  come ! 
[T/ie  crowd  of  serfs,  old  men,  poor  women,  and  children, 
begin  to  enter  as  the  fairy  song  swells  up  within 
the  gates  again,  Eobin  and  Marian  are  led 
along  by  a  crowd  of  fairies  at  the  end  of  the  prO' 
cession.^ 

TITANIA 

And  there,  see,  there  come  Eobin  and  his  bride. 
And  the  fairies  lead  them  on,  strewing  their  path 
With  ferns  and  moon-flowers.     See,  they  have  entered  in ! 
[The  last  fairy  vanishes  thro'  the  gatesJ\'\ 

OBEEON 

And  we  must  follow,  for  the  gates  may  close 

For  ever  now.     Hundreds  of  years  may  pass 

Before  another  mortal  gives  his  life 

To  help  the  poor  and  needy. 

[Oberon  and  Titania  follow  hand  in  hand  thro'  the  gates. 
They  begin  to  close.  Shadow-of-a-Leaf  steals 
wistfully  and  hesitatingly  across,  as  if  to  enter. 
They  close  in  his  face.  He  goes  up  to  them  and 
leans  against  them  sobbing,  a  small  green  figure, 
looTcing  like  a  greenwood  spray  against  their  soft 
ivory  gloiv.  The  fairy  music  dies.  He  sinlcs  to 
his  knees  and  holds  up  his  hands.     J[_Immedi- 


170  SHERWOOD 

ately  a  voice  is  heard  singing  and  drawing  nearer 
thro'  the  forest.^ 

[Song  —  drawing   nearer.'] 

Knight  on  the  narrow  way. 

Where  wouldst  thou  ride  ? 
"  Onward,"  I  heard  him  say, 

"  Love,  to  thy  side !  " 
"  Nay,"  saug  a  bird  above, 

"  Stay,  for  I  see 
Death  in  the  mask  of  love 

Waiting  for  thee." 

[Enter  Blondel,  leading  a  great  white  steed.    He  stops 
and  looks  at  the  kneeling  figure.] 


BLONDEL 


Shadow-of-a-Leaf ! 


My  King! 


SHAD0V7-0F-A-LEAF 

[Rising  to  his  feet.'] 
Blondel ! 


BLONDEL 

I  go  to  seek 

SHADOW-OF-A-LEAF 

[In  passionate  grief.] 
The  King  is  dead ! 


BLONDEL 

[/n  yet  more  passionate  joy  and  triumph.] 

The  great  King  lives! 
[Then  more  tenderly.] 
Will  you  not  come  and  look  for  Him  with  me  ? 
[They  go  slowly  together  through  the  forest  and  are  lost 
to  sight.    Blondel's  voice  is  heard  singing  the 


SHERWOOD  in 

third  stanza  of  the  song  in  the  distance,  further 
and  further  away.'] 
"  Death  ?    What  is  Death  ?  "  he  cried. 

"  I  must  ride  on !  "] 

l^Curtain.'] 


DIRECTIONS  FOR  PRODUCTION 


DIRECTIONS  FOR  PRODUCTION 

FOEEWOED 

'^  Sherwood,"  as  a  literary  composition,  contains  so 
mnch  that  is  beautiful  and  significant  in  history  and 
legend ;  as  a  play  so  much  opportunity  for  exquisite  blend- 
ing of  music,  light,  costume,  scenic  effect,  and  vigorous 
yet  poetic  acting,  that  the  work  should  prove  of  great 
service  to  any  school  or  college  looking  for  permanent 
values  to  the  cultural  life  of  the  institution.  This  stage 
version  has  been  made  with  the  hope  that  the  producing 
success  already  achieved  in  many  schools  and  colleges  will 
be  realized  in  many  more. 

Practical  experience  has  demonstrated  that  the  textual 
cuts,  the  stage  directions,  the  suggestions  for  costuming 
and  scenic  detail  of  this  edition  best  serve  the  needs  of 
average  conditions.  Brackets  indicate  all  cuts  so  as  to 
preserve  the  integrity  of  the  original.  Necessary  stage 
directions  follow,  each  page  taken  in  order.  The  beauty 
and  force  of  the  lines  furnish  their  own  directions  as  to 
when  a  character  shall  "  register "  fear,  love,  hate,  awe, 
tenderness,  etc.  Only  such  other  directions  are  made  as, 
from  experience,  will  prove  helpful.  It  is  impossible,  in 
an  appendix,  to  make  every  direction  as  clear  and  as  ex- 
plicit as  a  text  annotated  with  comment  and  diagrams. 
But  nothing  must  be  done  to  detract  from  the  poetic  charm 
of  the  text.  Besides,  each  director  will  want  to  use  his 
or  her  own  conception  of  detailed  treatment  and  to  mould 
the  action  according  to  local  conditions. 

GENERAL  CONDITIONS 

The  play  may  be  produced,  in  this  edition,  within  two 
hours  and  a  half,  including  intermissions,  from  overture 
to  final  curtain.     It  may  be  produced  in  a  city  theatre, 

175 


176  SHERWOOD 

out-of-doors,  or  in  a  school  auditorium.  If  given  in  a 
city  theatre,  avoid,  as  far  as  possible,  using  the  conventional 
scenery ;  that  is,  any  old-fashioned  "  wood  wings "  and 
"  drops."  Use  scenery  that  is  simple  and  suggestive, 
augmenting  it  with  actual  trees  and  vines.  Avoid  wings 
with  crude  outlines  or  too  strongly  marked  color  effects. 
For  a  back  drop  prefer  one  with  a  minimum  of  woods 
and  a  maximum  of  sky,  so  that  the  play  of  lights  can 
create  the  illusion  of  changing  time.  If  given  out-of- 
doors,  clear  an  opening  so  that  two  rows  of  trees  will  face 
each  other,  masking  off  each  side  down  stage  with  bushes. 
If  there  is  no  natural  vista  up  stage,  create  one  with  shrub- 
bery. Effective  stage  lighting  may  be  secured  by  artfully 
placed  electric  lights,  shielded  with  cones  throwing  the 
lights  away  from  the  audience.  The  disposition  of  these 
lights  will  depend  entirely  upon  a  careful  study  of  local 
conditions.  They  must  be  so  placed  as  to  give  sufficient 
light  upon  the  characters  in  action  and  yet  create  natural 
shadows.  If  a  background  of  an  ascending  rocky  slope  is 
available,  so  much  the  better  both  for  proper  effect  and 
for  artistic  stage  entrances. 

The  foot  lights,  of  course,  may  be  stretched  across  the 
level  space  down  stage.  If  the  average  school  stage  is 
used,  one  on  which  practically  all  scenery  must  be  built, 
either  resort  to  gray  or  blue  screens  and  a  solid  blue  back 
drop,  with  just  a  suggestion  of  woods  secured  by  shrubbery, 
the  whole  played  upon  by  proper  lighting,  or  bring  into 
use  all  the  trees  and  shrubbery  which  will  make  a  realistic 
forest  scene.  In  any  case  a  stage  opening  at  least  thirty 
feet  wide  by  twenty-five  or  thirty  feet  deep  is  necessary. 
The  height,  from  floor  to  flies,  should  be  fifteen  feet. 

The  expenses  of  the  production  will  vary  according  to 
circumstances.  In  general  they  comprise  theatre  rental, 
dress  rehearsal,  lights,  costumes,  orchestra  hire,  make-up 
work,  advertising,  programs,  and  rental  of  text  and  music. 
A  general  idea  of  average  cost  may  be  gathered  from  the 
following  figures  compiled  from  the  production  of  this 


SHERWOOD  177 

play  as  given  in  Trenton,  N.  J.,  in  1915.     Some  of  the 
items  would  no  doubt  be  doubled  to-day. 

Theatre  rental  (two  performances)   $250.00 

Dress  rehearsals  (stage  hands  and  lights)  .  .  .     30.00 

Costumes   130.00 

Orchestra  hire   60.00 

Make-up  work 25.00 

Extras,  including  copies  of  text  and  Royalty  i 

for  performance 80.00 

$575.00 

Even  with  the  cost  of  production  to-day  undoubtedly 
advanced,  some  of  these  items  will  be  larger  or  smaller 
according  to  local  conditions.  The  theatre  rental  will  vary 
according  to  the  city  and  size  of  the  theatre.  If  given 
out-of-doors  or  in  the  school  auditorium  that  item  will  be 
saved.  Costume  firms  charge  on  varying  scales  according 
to  the  simplicity  or  ornateness  of  the  material.  Of  course 
many  costumes  may  be  made.  The  costumes  for  this  pro- 
duction were  quite  accurate  and  ample.  Some  school 
orchestras  will  be  able  to  play  the  music  composed  for  this 
play.  Others  will  be  entirely  inadequate  and  some  will 
have  to  be  augmented.  If  programs  are  printed  to  allow 
for  paid  advertising,  the  entire  cost  of  advertising  —  win- 
dow display  cards,  tickets,  posters,  etc.,  may  be  met. 

The  above  scale  of  expenses  covers  the  outlay  necessary 
for  a  typical  high  school  production  of  the  play.  A  more 
pretentious,  out-of-door  performance  called  for  under  av- 
erage college  conditions,  and  involving  special  problems 
of  lighting,  seating,  etc.,  and  possibly  the  engaging  of  a 
professional  director,  may  cost  several  times  this  amount. 

For  production  purposes  a  re-naming  of  the  acts  has 
been  found  desirable,  designating  Acts  I  and  II  as  Pro- 
logue and  Epilogue  as  follows : 

1  Application  for  permission  to  produce  the  play,  with  full  par- 
ticulars of  conditions  of  performance,  must  be  made  to  the  Paget 
Literary  Agency,  500  Fifth  Ave.,  New  York  City. 


178  SHERWOOD 

The  Prologue,  The  Forest,  pages  3-16;  Act  I,  Banqueting 
Hall  of  Fitzwalter's  Castle,  pages  17-^3;  Act  II,  Scene  1, 
The  Forest,  pages  47-74;  Scene  2,  The  Forest,  pages  77-104; 
Act  III,  Garden  of  the  King's  Palace,  pages  107-153;  The 
Epilogue,  The  Priory  and  the  Forest,  pages  154^169, 

It  is  understood,  of  course,  that  for  class  study  purposes 
the  arrangement  of  the  play  as  devised  by  the  author  should 
not  be  changed. 

There  are  many  useful  books  on  the  market  which  aid 
the  amateur  director,  especially  for  a  play  of  this  char- 
acter. At  least  these  three  should  be  in  the  hands  of 
every  producer :  "  Practical  Stage  Directions  for  Ama- 
teurs," Taylor,  E.  P.  Button  and  Co.,  New  York;  "Cos- 
tumes and  Scenery  for  Amateurs,"  Mackay,  Henry  Holt 
&  Co.,  New  York;  "How  to  Produce  Amateur  Plays/' 
Clark,  Little,  Brown  &  Co.,  Boston.  "  Community  Drama 
and  Pageantry,"  Beegle  and  Crawford,  Yale  University 
Press,  is  also  an  excellent  text  with  many  practical  sugges- 
tions for  costumes,  lighting,  dancing,  music,  and  all  out- 
of-door  conditions.  Numerous  pictures  add  greatly  to 
its  value. 

STAGE  SETTINGS 

The  scenery  requirements  are  two  interiors  (a  Castle 
Hall  and  a  Priory),  and  two  exteriors  (a  Forest  and  a 
Palace  Garden).  Stage  diagrams  for  each  scene  are  shown 
on  pages  180  and  181. 


SHERWOOD  179 

The  Prologue  —  Pages  3-16 

The  Forest 

As  indicated  in  the  diagram,  make  a  light  wooden  fence 
about  four  feet  high,  paint  it  white,  and  festoon  it  with 
vines.  Extend  the  fence  across  stage  about  a  fourth  of 
the  way  down  stage  from  the  rear  drop.  The  rear  drop 
should  represent  the  depth  of  the  forest.  The  center  of 
the  fence  should  be  broken  by  a  high  double  gate,  of  scroll 
design,  gilded.  It  should  be  at  least  ten  feet  high  and 
made  to  swing  up  stage. 

Act  I  —  Pages  17-43 

Banqueting  Hall  of  Fitzwalter's  Castle 

The  banqueting  hall  is  most  effective  if  treated  simply; 
little  furniture  but  accurate  in  design,  plain  but  richly 
colored  hangings,  and  the  walls  of  a  tone  color  that  does 
not  Jar.  Preferably  use  a  stage  set  of  paneled  wood  with 
brown  or  dark  red  hangings.  The  banquet  table  may  be 
entirely  omitted,  as  it  will  interfere  with  the  action.  The 
steps  indicated  in  the  diagram  lead  to  Marian's  room. 
Obviously  the  furniture  should  be  medieval  in  character. 
It  is  a  good  plan  to  solicit  the  aid  of  the  proprietor  of  a 
furniture  store  which  specializes  in  period  decoration  and 
to  give  him  the  opportunity  of  setting  this  act  appro- 
priately, in  return  for  the  advantage  of  advertising.  Once 
you  determine  on  the  stage  set  you  will  use  —  often  limited 
by  the  conditions  of  the  theatre  —  the  decorator  can  then 
determine  what  furniture  and  hangings  will  secure  the 
best  effect.  However,  do  not  permit  him  to  overload  the 
stage  with  furniture  or  to  use  odd  pieces. 

Act  n  —  Scene  1  —  Pages  47-74 

The  Forest 

The  setting  for  this  scene  may  be  the  same  as  for  The 
Prologue,  save  that  the  fence  and  gates  are  out.  If  pos- 
sible use  a  different  forest  back  drop.     All  references  to 


180 


SHERWOOD 
PROLOGUE 


BUNCH  UCHr(^ 


BUNCMUCHTQ^ 


(^BUNCftUGMr 


Q)BUNC/^Ll6//r 


/^CTII.    SCENE  I 


SHERWOOD 
/ICTIl,  SCENEII 


BUNCHUGHTd^ 


181 


Q)BUNCH  L/CHr 


/qcr  III 

„,.  ,^..  _^     ;  GA/!£)£A/  AA^D  PALACE         D^OP  i     ^^  ^ 

BUNCH UCHT(^  I  \  (jdUA/CH  l/CNT 

IBALUSr/^ADE  B/llUST/tAD^ 

\    I  I 


BuaichughtQ 


Q)&UAJCHUGHr 


182  SHERWOOD 

the  "  cave  "  mean  the  "  hut."  The  front  of  the  hut,  with 
door  C,  shows  on  stage  as  indicated  in  the  diagram.  Most 
theatres  possess  among  their  stock  properties,  a  hut  or  cot- 
tage. This  usually  consists  merely  of  "  flats  "  or  canvas 
on  frames,  painted  to  resemble  a  rustic  cottage,  and  held 
in  place  by  stage  braces.  The  door  should  be  practical 
but  windows  need  not  be.  If  the  theatre  does  not  have 
one,  the  stage  carpenter  or  manual  training  department 
of  the  school  can  easily  make  one.  The  appearance  of 
the  hut  may  be  enhanced  with  a  few  plants  about  the 
doorway,  and  a  few  trailing  vines. 

Act  II  — Scene  2  — Pages  77-104 

,  The  Forest 

The  setting  for  this  scene  is  the  same  as  for  Scene  1, 
save  that  the  hut  is  removed.  A  change  in  forest  back 
drop,  if  possible,  would,  of  course,  be  more  in  keeping 
with  the  place  indicated. 

Act  III  — Pages  107-153 

Garden  of  the  King's  Palace 

The  rear  drop  should  show  the  vista  of  a  garden  with 
a  castle.  Up  stage  may  be  elevated  by  a  platform  run- 
ning a  quarter  of  the  way  down  stage,  the  front  edge  of 
it  faced  by  a  balustrade  three  feet  high  with  opening  in 
the  middle.  Two  seats  should  be  placed  against  the  balus- 
trade, conforming  in  design  to  that  of  the  balustrade.  See 
diagram. 

The  EpmoGUE  —  Pages  154-169 

The  Priory  and  The  Forest 

The  stage  for  The  Epilogue  must  be  set  up  as  for  The 
Prologue  —  drop,  forest  scene,  fence  and  gate.  Down 
stage,  as  indicated  in  the  diagram,  set  up  a  plain,  dark 
interior  to  resemble  a  priory.  Furnishings  should  be  sim- 
ple—  prayer-desk,  couch  covered  with  material  in  har- 
mony with  the  wall  or  hangings.     The  window  should  bq 


SHERWOOD  183 

made  casement  in  design,  to  swing  outward,  and  it  is  most 
important  that  this  setting  be  so  contrived  that  it  can  be 
removed  very  quickly  and  silently  for  the  change  to  the 
final  scene. 

LIGHTING 

The  lighting  of  this  beautiful  play  is  an  essential  feature 
of  the  production  and  requires  some  thought  and  care. 
If  the  play  is  given  out-of-doors  the  lighting  will  depend 
entirely  upon  local  conditions.  Under  the  discussion  of 
"  General  Conditions "  some  suggestions  for  out-of-door 
lighting  are  offered.  Indoors,  foot  lights,  borders,  bunch 
and  spot  lights  are  needed.  The  general  caution,  how- 
ever, should  be  given  not  to  use  too  much  light.  In  the 
foot  lights  take  out  here  and  there  several  lamps  and  secure 
better  effects  by  higher-powered  lamps.  Use  fewer  but 
larger  lamps  in  the  bunch  lights,  and  substitute  colored 
silk,  if  possible,  for  the  old  gelatin  frames,  or  one  of  the 
newer  devices  which  may  be  purchased  from  theatrical 
supply  houses.  The  border  lights  may  be  improved  by 
substituting  for  the  long  rows  of  lamps  a  few  larger  lamps 
covered  with  cone-shaped  globes.  Any  tinsmith  can  make 
them,  and  paint  them  white  inside,  although  porcelain- 
lined  shields  are  better.  This  applies  also  to  the  foot 
lights. 

For  The  Prologue,  bunch  lights  may  be  used  E  and  L 
off  stage  behind  the  fence.  Spot  light  may  be  used  from 
the  rear  of  the  balcony  of  the  theatre,  but  judiciously, 
and  only  when  it  will  actually  focus  attention  in  dramatic 
necessity,  never  for  mere  theatrical  effect. 

The  house  should  be  darkened  before  the  overture,  to 
establish  the  atmosphere  of  the  play.  The  rise  of  the 
curtain  should  show  the  stage  absolutely  dark  back  of  the 
gate.  If  necessary,  suspend  a  transparency  in  front  of 
the  gate  and  fence  which  becomes  invisible  when  bunch 
lights  come  on.  Down  stage  should  give  the  effect  of  faint 
moonlight.  This  may  be  secured  by  greens  and  ambers 
in  the  border  lights  and  blues  in  the  foot  lights.     Bring 


184  SHERWOOD 

up  the  bunch  lights  slowly  on  the  entrance  of  the  fairies, 
so  as  to  create  the  effect  of  a  fairy  world  growing  out 
of  the  forest.  A  spot  light  in  the  balcony  may  play  on 
the  fairies  as  they  dance,  if  desired.  If  their  costumes 
are  white,  use  colored  lights.  Eaise  curtain  promptly 
on  last  note  of  overture. 

The  lighting  of  Act  I,  The  Banqueting  Hall,  represents 
late  afternoon.  First,  use  all  ambers  in  the  foots  and  bor- 
ders, blending  off  into  reds  with  tinges  of  greens  and  blues. 
However,  do  not  use  these  too  strongly,  because,  as  indi- 
cated in  "  Acting  Directions,'*  the  bunch  lights  will  develop 
the  moonlight  which  eventually  streams  in  from  the  hall- 
way. At  this  point  the  other  lights  may  be  dimmed  down 
until  they  are  hardly  visible. 

For  Act  II,  Scene  1,  The  Forest,  we  again  have  a  sun- 
set scene,  with  the  same  effects  employed  as  in  Act  I,  the 
same  dimming  process,  and  the  same  use  of  the  bunch 
lights. 

The  lighting  for  Act  II,  Scene  2,  The  Forest,  indicates 
the  middle  of  the  day,  with  full  amber  lights  on  in  all 
lighting  devices. 

The  hour  is  sunset,  in  Act  III,  The  Garden  of  the 
King's  Palace.  Use  the  same  treatment  of  lights  as  in 
Act  I,  later  effecting  strong  moonlight  in  the  two  bunch 
lights  up  stage.  If  gelatin  frames  are  used,  place  first 
ambers  in  the  frames,  then  slide  in  the  reds  as  the  ambers 
are  removed.  Then  insert  blues  as  the  reds  are  removed, 
and  then  the  greens  as  the  blues  are  removed.  It  may 
be  necessary,  however,  to  retain  the  blues  with  the  greens. 
An  effective  additional  device  is  to  festoon  lines  of  odd- 
shaped  lanterns  in  the  flies,  all  wired  with  lights,  ready 
to  be  lowered  to  view  when  Prince  John  enters  to  begin 
the  festivities. 

The  lighting  for  The  Epilogue  should  be  placed  as  in- 
dicated in  The  Prologue.  For  The  Priory  scene  down  stage 
use  reds  to  indicate  subdued  light.  Additional  notes  -may 
be  found  under  acting  directions,  the  epilogue. 


SHERWOOD  185 


PROPERTIES 


For  The  Prologue  the  essential  properties  consist  of  the 
fence,  gate,  vines,  plants,  swords,  canes,  fern,  sacks,  wands, 
and  a  donkey.  The  donkey  is  quite  "  practical."  With 
practice  he  may  be  enticed  across  the  stage.  All  these  prop- 
erties may  either  be  made  in  the  manual  training  depart- 
ment of  any  school,  or  easily  borrowed  or  procured. 

The  properties  for  Act  I  are  swords,  lances,  a  candle, 
a  staff,  a  cloak,  a  paper,  a  bugle,  table  and  chairs,  couch 
and  cushions,  and  steps. 

For  Act  II,  Scene  1,  are  necessary  flowers,  cloaks,  a 
paper,  a  staff,  swords,  lances,  wands,  a  harp  (to  be  car- 
ried in  the  hand  —  easily  made),  fern,  a  bugle,  a  cottage, 
piano  off  stage,  seats,  and  a  horse.  The  horse  is  also 
"  practical,"  but  will  need  more  practice  than  the  donkey. 

Properties  for  Act  II,  Scene  2,  are  a  staff,  a  bugle,  the 
harp,  the  horse,  plates,  swords,  lances,  bows  and  arrows, 
a  comb,  daggers,  tables,  seats,  grass  mats,  fruit,  cakes, 
and  mugs. 

For  Act  III  there  will  be  needed  lanterns  with  wiring, 
a  paper,  swords,  a  wand,  a  staff,  the  harp,  balustrades, 
seats,  steps,  dominoes,  and  piano  off  stage. 

For  The  Epilogue  the  necessary  properties  in  The  Priory 
are  chairs,  a  shrine  or  prayer  desk,  couch  with  cover,  a  bell, 
organ  off  stage,  a  bugle,  bow  and  arrows,  and  a  dagger ; 
and  for  The  Forest  up-stage  the  gate,  fence,  vines,  and 
plants. 

MUSIC 

Very  competent  and  beautiful  music  has  been  composed 
for  this  edition  by  Mr.  Edward  A.  Mueller,  whose  published 
works  are  well-known.  Both  piano  and  full  orchestral 
score  may  be  secured  by  applying  to  him  at  his  address, 
23  Prospect  Street,  Trenton,  New  Jersey.  Following  is 
a  list  of  the  numbers,  with  the  composer's  suggestions: 

While  the  music  for  "  Sherwood  "  is  classic  in  form  and 
standard,  it  is  not  difficult  technically  for  singer  or  player. 
The  director  of  tlie  music  should  have  sound  musical  judg- 


186  SHERWOOD 

ment  and  experience,  as  it  is  in  the  ensemble  of  orchestra 
and  voices  that  difficulties  are  encountered,  whether  the 
performers  be  professional  or  amateur. 

The  piano  and  vocal  score  includes  the  following  num- 
bers: 

Overture  and  Fairies'  Chorus:  Tiie  Fairies'  Chorus  is 
written  for  female  voices,  in  four  parts.  If  necessary, 
the  chorus  sections  may  be  given  with  two  parts  only,  or 
even  the  melody  in  unison.  The  greater  part  of  this  num- 
ber is  a  duet  that  will  be  most  effective  with  four  or  six 
voices,  although  two  singers  can  render  it. 

The  Fairies'  Dance:     This  is  a  waltz  in  slow  tempo. 

BlondeVs  Song:  This  song  is  in  minor,  in  ancient 
ballad  style  witli  a  light  arpeggio  accompaniment,  in  imi- 
tation of  the  harp,  and  is  followed  by  a  recitative  without 
accompaniment.  It  can  be  sung  equally  well  by  alto  or 
baritone,  and  demands  a  stable,  true  voice. 

Alan-a-Dale's  Song:     For  baritone. 

Gavotte:     Use  "La  Cinquintaine,"  by  Gabriel-Marie. 

Miserere:  This  number,  produced  back  stage  in  the 
Kirklee  Priory  scene,  is  written  for  reed  organ  and  three 
parts  for  female  voices. 

Music  for  Death  Scene  of  Robin  Hood:  This  is  inci- 
dental music,  directions  for  which  will  be  found  on  the 
score;  also  under  acting  directions,  the  epilogue. 

Death  Song  of  Shadow-of-a-Leaf :  This  song  for  soprano 
or  mezzo  is  short  and  in  dramatic  recitative  form. 

The  orchestral  score  includes  above  numbers  and  en- 
trances, exits,  and  curtain  finales  not  designated  in  the 
piano  and  vocal  score.  The  scoring  calls  for  First  and 
Second  Violins,  Viola,  'Cello,  Bass,  Oboe,  Flute,  Clarinet, 
Cornet,  Trombone,  Tympani,  and  Piano.  The  parts  may 
be  reduced  at  the  discretion  of  the  orchestra  leader. 

COSTUMES  AND  MAKE-UP 

In  a  play  of  this  character  most  of  the  costumes  should 
be  rented.     Most  costuming  houses  will  be  able  to  furnisli 


SHERWOOD  187 

costumes  well  adapted  for  the  period  of  the  play, —  Robin 
Hood's,  the  foresters',  the  Friar's  gown,  and  those  for  the 
lords  and  ladies,  the  King,  Prince,  and  Queen.  Careful 
directions  should  be  given  the  eostumer  as  to  the  exact  na- 
ture of  the  play,  and  absolutely  correct  measurements  be 
given.  Be  careful  about  the  size  of  hats  and  shoes.  Be 
sure  that  the  costumes  vary  in  design  and  color  scheme  and 
blend  with  the  setting.  Obviously  the  costumes  of  the  lords 
and  ladies  should  be  rich  in  velvets  and  laces,  the  foresters' 
in  green,  the  Friar's  brown,  the  nuns'  black  (easily  made), 
the  rustics'  brown  or  gray,  the  fairies'  white,  and  the  old 
men  nondescript.  The  costume  of  Shadow-of-a-Leaf  may 
be  motley. 

Many  of  the  costumes  can  easily  be  made  from  paper 
patterns.  A  good  fairy  costume  may  be  made  of  cheese 
cloth,  three  yards  of  tarlatan,  three  yards  of  wire  for  wings, 
two  dozen  gems,  and  a  little  silver  dust. 

In  addition  to  making  all  the  fairies'  costumes,  money 
may  be  saved  by  making  or  borrowing  the  s^'ords,  lances, 
wands,  crowns,  ornaments  and  bows  and  arrows. 

The  make-up  work  should  be  in  the  hands  of  an  expert. 
Avoid  all  exaggeration.  A  black  wig  and  beard  should  be 
provided  for  the  Sheriff,  a  white  wig  for  Fitzwalter,  a  red 
wig  for  Much,  and  a  brown  one  for  tlie  Friar. 

Lack  of  space  does  not  permit  any  detailed  instructions 
as  to  what  to  do  if  no  competent  make-up  man  is  available. 
Ample  information  is  furnished  in  the  books  suggested. 
With  the  changes  in  lighting  schemes  on  the  modern  stage, 
make-up  work  has  followed  accordingly.  A  good  general 
principle  is  to  try  to  secure  the  same  effect  on  the  stage  as 
for  the  natural  light  of  the  street.  In  this  way  all  exag- 
geration will  be  avoided.  It  is  a  good  plan  to  observe  in 
real  life  the  same  type  of  character  you  wish  to  affect  on 
the  stage  and  apply  the  make-up  accordingly.  This 
takes  careful  observation  and  some  practice,  but  it  can 
be  done  by  the  skilKul  amateur. 


188  SHERWOOD 

THE  CAST 

The  cast  of  "  Sherwood "  should  be  chosen  with  care, 
particularly  the  characters  of  Eobin  Hood,  Prince  John, 
Queen  Elinor,  Shadow-of-a-Leaf,  Much,  Little  John,  the 
Friar,  Richard,  Oberon,  Titania,  Fitzwalter,  and  Marian. 
The  best  way  to  secure  an  accurately  chosen  cast  is  to 
conduct  trials.  First,  study  the  text  carefully  until  each 
character  is  clearly  outlined  in  your  own  mind.  Think 
of  these  characters  in  terms  of  all  possible  available  ma- 
terial in  the  school.  By  availability  is  meant  not  only 
fitness  for  the  part, —  appearance,  size,  voice,  personality, 
good  memory,  and  mental  alertness,  but  also  aptness  to 
take  direction,  punctuality,  industry,  and  a  proper  spirit 
of  team  work.  In  order  to  obtain  the  first  qualities  men- 
tioned it  may  be  necessary  to  sacrifice  some  of  the  others, 
and  make  the  best  of  it.  This  means  harder  work  for  the 
director  and  the  exercise  of  patience  and  persistence. 
Often  it  may  be  necessary  to  exclude  from  the  cast  those 
whose  temperaments  make  it  impossible  to  work  with  them 
without  handicapping  the  good  work  of  others. 

After  all  available  material  is  fixed  in  mind  as  a  result 
of  careful  study  of  the  text,  and  every  elimination  made, 
call  a  meeting  of  this  prospective  cast.  Eead  the  play,  or 
certain  important  sections  of  it,  to  them,  commenting  on 
the  diaracteristics  of  each  person  in  the  play  as  you  read, 
trying  to  give  them  an  insight  into  all  the  matters  of  voice, 
interpretation,  and  mental  and  spiritual  qualities  they 
manifest.  Then  take  some  one  act,  choose  those  you  have 
first  in  mind,  give  them  copies,  and  have  them  read  an 
act  or  certain  scenes,  on  the  stage.  Watch  closely  the 
readiness  with  which  they  adapt  themselves  to  the  part. 
If,  on  repeated  suggestion,  certain  ones  fail  to  grasp  the 
part,  substitute  others,  until,  after  repeated  trials,  your 
final  cast  is  chosen. 

All  the  students  should,  in  the  first  place,  have  a  clear 
understanding  that  they  may  or  may  not  be  chosen.     Tact, 


SHERWOOD  189 

amiability,  and  sincerity  on  the  part  of  the  director  ought 
to  be  able  to  create  this  state  of  mind,  if  the  school  has 
anything  like  the  proper  spirit  of  team  work  and  coopera- 
tion to  make  the  play  a  real  success.  Often  many  students 
not  chosen  finally  will  be  willing  to  serve  as  understudies, 
coming  faithfully  to  rehearsals,  filling  in  during  necessary 
absences,  and  thus  make  themselves  available  in  the  event 
of  unexpected  illness,  falling  back  in  academic  work,  etc. 
This  beautiful  play,  clearly  defined  in  atmosphere,  and 
rich  with  interesting  personalities,  shows  Rolin  Hood  as 
a  man  of  broad  sympathies,  poetic  mind,  and  a  person- 
ality gentle,  proud,  vigorous,  and  noble.  His  enactor 
should  have  grace  and  a  well-proportioned  body.  John 
is  arrogant,  supercilious,  crafty,  and  selfish.  He  should 
be  portrayed  by  a  tall,  dark-complexioned  person.  Queen 
Elinor  should  be  well-built,  and  should  have  a  flexible 
voice,  capable  of  shifting  from  hate  and  anger  to  sophistry 
and  ingratiating  charm.  SJiadow-of-a-Leaf  needs  most 
careful  choosing.  Nimble,  versatile  as  to  voice  and  per- 
sonality, poetic,  eccentric,  human,  amiable,  grave,  foolish, 
commanding,  he  needs  utmost  attention.  Often  a  girl  can 
enact  the  part  better  than  a  boy.  Much  has  all  the  quali- 
ties of  the  clown.  Little  John  should,  of  course,  be  as 
immense  as  possible.  Friar  TucJc  is  fat,  rollicking,  human, 
and  sincere.  Richard,  a  tall,  fair-haired  man,  is  the  soul 
of  graciousness,  dignitj',  kindness,  and  of  commanding, 
righteous  anger.  Oheron  and  Titania  should  cultivate  the 
charm  of  other-world  characteristics, —  wistful,  mildly- 
declamatory  in  style,  sweet,  pathetic  in  interpretation. 
Fitzwalier  may  be  an  old  man,  childish,  inconsistent, 
craven,  affected,  somewhat  blusterous,  but  with  some  na- 
tive affection.  Marian  is  the  embodiment  of  everything 
womanly,  the  woman  of  "  high  degree."  She  has  charm, 
a  fascinating  voice  and  manner,  and  a  wealth  of  exquisite 
variability  of  temperament, —  sweetness,  affection,  imper- 
ious hauteur,  leadership,  yet  complete  and  wholly  disarm- 
ing graciousness  in  affection. 


190  SHERWOOD 

A  word  of  caution  about  doubling  parts.  If  all  the 
characters  are  available,  of  course  employ  them.  It  sim- 
plifies stage  entrance  and  costume  changing,  besides  en- 
hancing the  interest  in  the  play  from  all  points  of  view. 
If  it  is  necessary  to  double  any  parts,  be  sure  that  the  per- 
sons chosen  are  versatile  enough  to  enact  the  different 
roles.  Note  the  directions  carefully  about  stage  entrances 
and  intervals  of  time  so  as  to  permit  of  costume  change 
and  changes  of  position  in  stage  entrance.  In  addition  to 
the  stage  director  and  prompter  some  one  person  should 
be  utilized  whose  sole  business  it  is  to  see  that  these  changes 
are  made,  the  persons  in  proper  position  for  stage  en- 
trance and  in  ample  time,  and  to  have  in  their  possession 
all  the  articles  they  will  use  in  the  action.  Following  are 
suggestions  for  doubling  when  necessary: 

Alan-a-Dale  and  Blondel  may  be  enacted  by  one  person. 

Little  John  may  also  enact  the  Serf,  page  3,  and  take 
the  lines  of  the  First  Rustic,  page  77,  Greenleaf,  page  102, 
the  Second  Forester,  page  143,  and  the  Forester,  pages 
152-153. 

Will  Scarlet  may  take  the  lines  of  the  First  Old  Man, 
pages  9-14,  the  Masher,  page  128,  and  the  Messenger, 
page  152. 

Much  may  enact  the  Blind  Man,  pages  9-12,  the  Forester, 
pages  152-153,  Greenleaf,  page  102,  Arthur,  pages  131- 
135,  and  the  First  Forester,  page  143. 

The  Friar  may  also  speak  the  lines  of  the  Second  and 
Third  Rustics,  pages  77-83. 

The  First  and  Second  ^Voman  and  the  Child,  pages 
9-12,  the  Lady,  page  128,  and  the  Prioress,  pages  154-159, 
may  be  enacted  by  one  person. 

Widow  Scarlet  and  the  Novice,  page  159,  may  also  be 
taken  by  one  person. 

Orchis,  pages  68-69,  may  take  the  lines  of  the  Fairy, 
page  70. 

Lords  and  Foresters,  Ladies  and  Fairies,  may  inter- 
change. 


SHERWOOD  191 

The  characters  of  Oheron,  Orchis,  Puck,  and  Shadow-of- 
a-Leaf  may  be  taken  by  girls. 

"  Sherwood  "  demands  careful  attention  to  details.  There 
should  be  no  misfits.  There  is  such  a  slight  gap  between 
poetry  and  banality,  between  enchantment  and  the  common- 
place, that  it  should  be  undertaken  in  all  seriousness  with 
a  full  consciousness  of  all  the  attention  to  detail  involved. 
This  means  well-thought-out  construction  as  to  cast,  cos- 
tumes, lighting,  music,  scenery,  properties,  rehearsals,  ad- 
vertising, and  the  final  goal  to  be  reached;  namely,  the 
production  of  a  play  which  because  of  its  great  beauty  and 
force  should  live  in  the  minds  of  all  who  share  in  the 
enterprise  as  the  rarest  occasion  in  their  school  lives. 

ACTING  DIRECTIONS 

The  Prologue  —  Pages  3-16 
The  Forest 

The  following  enter  E :  the  Serf,  Old  Man,  Old  Woman, 
Blind  Man,  Sheriff  and  Men,  Shadow-of-a-Leaf,  Little 
John. 

The  following  enter  L:     Prince  John  and  his  Men. 

The  following  enter  C :     Titania,  Oheron,  Puck,  Fairies. 

Page  3.  Make  the  initial  entrance  striking  and  drama- 
tic. Strike  the  note  of  John's  character  at  once  —  cruelty, 
arrogance.  Every  word  and  gesture  must  carry.  The 
Serf's  abject  behavior  should  be  marked.  He  throws  him- 
self at  the  feet  of  Prince  John,  the  Sheriff  endeavoring 
to  restrain  him.  Be  careful  of  a  balanced  stage  picture, 
—  the  kneeling  Serf  with  the  Sheriff  and  his  men,  and  the 
Prince  with  his  men. 

Page  5.  John  turns  to  go  on  the  line  "  Take  him  off," 
but  turns  on  the  phrase  "  But  wait." 

Page  6.  As  the  Serf  is  taken  away,  E,  his  words  and 
cries  trail  off  into  distance  as  John  converses  indifferently 
with  the  Sheriff. 

Page  8.  A  more  dramatic  effect  can  be  secured  if  the 
Serf  suddenly  appears,  E,  struggling  with  his  men  with- 


192  SHERWOOD 

out  a  cry,  as  John  is  engrossed  in  his  plans,  rushes  at 
John,  but  is  killed  just  as  he  utters  a  cry  of  exultation. 
Pause  before  John's  comment,  and  the  Sheriff's  statement. 
John's  "  I  am  sorry  "  should  be  quite  casual.     Exeunt  L. 

Page  9.  Only  three  characters  required,  an  Old  Man, 
a  Woman,  and  a  Blind  Man,  tliough  more  may  be  used 
if  available.  Slight  pause  before  their  entrance  E.  The 
pathos  of  this  scene  should  contrast  sharply  with  the  pre- 
vious scene.  The  Woman  takes  the  Child's  lines,  substi- 
tuting "Oh,"  for  the  word  "Mother." 

Page  10.  The  Old  Man  should  drag  the  body  off  as  the 
Blind  Man  potters  about. 

Page  11.  Little  John  and  Shadow-of-a-Leaf  enter  E. 
The  donkey  may  be  decorated  with  flowers  and  fern. 
Shadow-of-a-Leaf  should  walk  him  slowly  across  stage, 
pausing  and  talking  to  him.     It  can  be  done. 

Page  13.  Shadow-of-a-Leaf  exits  L,  his  "  Hosannas " 
dying  away  in  tlie  distance,  while  his  hearers  listen  a  mo- 
ment. 

Page  14.  Little  John  exits  L,  the  Old  Man  E.  After 
a  pause  the  lights  come  up  in  the  bunch  lights,  gradually 
revealing  the  fence  and  gate  into  Fairyland,  with  Titania 
and  Oberon  just  behind.  They  come  down  C  to  the  music 
of  the  Overture  repeated. 

Page  15.  When  Titania  says,  "  See,  they  come ! "  she 
and  Oberon  come  down  L  C,  as  the  Fairies  enter  through 
the  gates  from  either  side  and  down  stage  in  the  dance. 
Shadow-of-a-Leaf  may  reenter  and  stand  with  Puck  down 
E  C,  opposite.  Titania,  Oberon,  Puck,  and  Shadow-of-a- 
Leaf  may  dance  in  the  center  in  III.  Following  are  di- 
rections for  the  dance  and  chorus: 

There  should  be  sixteen  in  the  group.  Fairies  enter  gate 
in  introduction,  second  measure. 

I.  Introduction.     Four  abreast  at  gate, — 
4444 
3333 
2223 
1111 


SHERWOOD  193 

a.  Step  forward  with  outside  foot,  raising  heel, 

holding  three  counts  (inside  foot  extended 
backward,  arms  in  fourth  position). 

b.  Waltz    step    forward,    beginning   inside   foot. 

(Step,  slide,  close.) 

4444 

3333 

22     22 

11     11 

Eepeat  a. 

c.  Eepeat  b.  waltz  step  for  first  eight  being  taken 

to  side,  rear  eight  advancing  forward,  form- 
ing two  rows  of  eight  across  stage, — 

22444422 

11333311 
Eepeat  a.  and  c. 

d.  Step  to  outside  and  pirouette,  arms  sixth  posi- 

tion. 

II.  Dance. 

a.  Beginning  outside  foot,  six  waltz  balance  step 

forward,  arms  in  fifth  position. 

b.  Step  and  pirouette  outside,  arms  in  sixth  posi- 

tion. 

c.  Six  waltz  balance  step  backward,  arms  in  third 

position.     Eepeat  b. 
Eepeat  all  of  II,  with  alternate  lines  advancing 
forward  and  then  backward,  and  others  in  op- 
posite directions  with  rows  three  and  four  keep- 
ing back  stage. 

III.  Forming  gi'oups  of  four  in  a  semicircle,  Principals 
coming  across  in  front  to  form  central  group,  groups  mov- 
ing in  circles. 

44     44 

33     33 
22  22 

11     pp     11 

PP 


194  SHERWOOD 

a.  Eight  waltz  steps  -with  arms  crossed  in  center. 

b.  Eight  waltz  steps  changing  direction. 

c.  Eight  waltz   steps  facing  inside  with  hands 

joined. 

d.  Six  waltz   steps   facing  outside  with   hands 

joined. 
Finish    in    large    semicircle   with    Principals 
center. 
IV.  Chorus  sways  rig'ht  and  left. 

a.  Two   each    direction;    four    pas-de-hasque    in 

semicircle  meeting  across  back  of  stage 
(four  measures). 

b.  Step   to   right  and  pirouette;   step   left   and 

pirouette  (four  measures). 

c.  Titania   and    Shadow   three   gteps   diagonally 

forward  and  point.  Oberon  and  Puck  three 
steps  forward  diagonally  crossing  in  back  of 
Titania  and  Shadow.  Repeat  all  of  IV. 
ending  in  doubles,  turn  and  pose  while 
chorus  groups  for  song.  (S  for  standing, 
Si  for  sitting,  K  for  kneeling,  P  for  pros- 
trate. ) 

ssss 

KK        Si  Si        KK 
P  P 

Page  16.  During  the  last  two  phrases  of  song,  "  The 
forest  shall  conquer,"  chorus  gradually  fades  away,  moving 
off  by  side  wings  and  up  stage  through  gate.  Song  must 
die  away  in  distance,  and  lights  go  down  slowly,  leaving 
stage  at  end  of  prologue  as  at  the  beginning.  The  four 
Principals  slowly  recede  through  gate,  closing  it  slowly, 
and  exeunt  slowly,  E  and  L,  back  of  fence.     Slow  curtain. 

Follow  directions  on  musical  score  of  Chorus  strictly, 
for  best  effect.  The  duet  may  be  sung  by  two  good  solo 
sopranos  and  two  good  altos.  Try  to  have  plenty  of  altos 
in  the  chorus. 


SHERWOOD  195 

If  the  characters  are  available,  use  the  last  episode,  the 
passing  of  the  mortals  through  the  gate,  with  Titania's  re- 
entrance  and  line. 


Act  I  —  Pages  17-43 
Banqueting  Hall  of  Fitzwalter's  Castle 

The  following  enter  R:     Marian,  Little  Jolin. 

The  following  enter  L:  Friar,  Much,  Rohin  Hood,  For- 
esters, Widoiv  Scarlet,  Queen  Elinor. 

The  following  enter  C :  Fitzivalter,  Shadow-of-a-Leaf, 
Gentlemen,  Ladies,  Sheriff  and  his  Men,  John  and  his 
Men. 

Costume  changes  from  prologue:  Little  John,  Will 
Scarlet,  Much,  Fairies,  Foresters,  if  doubled. 

There  are  many  characters  in  this  scene.  Be  careful  to 
have  the  costumes  in  keeping  with  the  color  of  the  stage 
setting,  and  so  to  arrange  the  stage  pictures  that  they  are 
well  balanced.  Study  the  character  of  Shadow-of-a-Leaf 
to  bring  out  his  semi-serious,  semi-whimsical  traits.  Play 
up  the  weakness  of  Fitzwalter. 

Page  17.     Robin  enters  L,  vigorously. 

Page  19.  The  Sheriff  and  his  men  must  be  seen  in 
the  doorway,  C,  but  unobserved  of  those  on  stage.  Robin 
should  have  the  center  of  the  stage  during  his  long  speech, 
which  should  be  delivered  with  sincerity  and  feeling  and 
should  receive  close  attention  by  his  hearers.  Shadow 
should  crouch  on  the  floor  until  his  lines,  page  21. 

Page  22.  On  Rol)in's  lines  he  comes  do^vn  stage,  and 
raises  his  sword.  All  the  men  follow  suit.  Widow  Scarlet 
enters  L,  and  on  her  second  speech  kneels  to  Robin. 

Page  24.  Robin  has  one  of  his  men  take  Widow  aside 
when  Sheriff  enters  C.  All  the  men  draw  their  swords 
as  Sheriff  comes  down  center  and  reads  his  proclamation. 
Create  a  well-balanced  stage  picture  and  practice  the 
formation  sufficiently  so  that  it  will  be  taken  without  con- 
fusion. 


196  SHERWOOD 

Page  25.  Little  Jolin  enters  C,  nins  and  kneels  before 
Robin. 

Pages  26,  27.  If  a  secret  door  is  impracticable,  Eobin 
should  exit  E.  Marian  enters  through  door  down  steps 
up  R. 

Page  27.  Shadow  should  fall  at  Marian's  feet,  on  his 
lines.  Prince  John  and  his  Men  enter  C.  Again  work 
for  a  good  stage  picture. 

Page  30.  Fitzwalter  leads  his  guests  out  C  or,  as  in- 
dicated, up  the  steps  from  whence  Marian  entered.  Pause 
before  John  speaks. 

Page  33.  Fitzwalter  should  enter  unobserved.  Marian's 
glance  discloses  him  to  John. 

Page  35.  John's  Men  should  enter  C.  It  should  be 
clear  that  they  did  not  join  the  guests.  Robin's  Men 
enter  as  indicated,  up  R. 

Page  36.     All  the  characters  on  this  page  exeunt  C. 

Pages  36,  37.  The  most  effective  treatment  of  this  light- 
ing situation  is  to  employ  a  bunch  light  off  stage,  L,  us- 
ing greens  and  Idues.  As  the  other  lights  dim,  gradually 
bring  the  bunch  light  on  so  as  to  project  a  stream  of  light 
on  stage.  Shadow  goes  out,  C,  to  look,  returns  and  points 
L,  as  Queen  Elinor  enters  L.     Shadow  crouches  by  stairs. 

Page  39.     Fitzwalter  enters  C. 

Pages  42,  43.  Marian  exits  up  stairs  R,  and  Fitzwalter 
and  Elinor  follow  her.  Shadow,  during  this  scene,  has 
been  watching  them  closely,  and  as  they  approach  the  steps 
he  retreats.  On  their  exeunt  he  drops  to  the  floor  by  the 
steps   and   utters   his  lines   piteously.     Slow   curtain. 

Act  II  —  Scene  1  —  Pages  47-74 

The  Forest 

The  following  enter  R:  Little  John,  Shadow -of -a- Leaf, 
Friar,  Widow,  Jenny,  Titania,  Oheron,  Orchis,  Fairies, 
Blondel. 

The  following  enter  L :    Much,  Robin,  Elinor,  Foresters. 


SHERWOOD  197 

Costume  changes  from  i\.ct  I:  Marian,  Elinor,  Lords 
and  Ladies,  if  doubled. 

Page  47.     Much  enters  L. 

Page  50.  Eobin  enters  L.  Little  John  runs  to  him 
and  feels  of  his  body  to  see  if  he  has  been  hurt. 

Page  51.  Little  John  aims  his  bow  off,  R.  Shadow 
enters  E. 

Page  53.  Marian  enters  R.  Take  time  for  her  by- 
play.    Make  this  scene  sincere,  not  mawkish. 

Page  55.     Elinor  enters  L,  unobserved. 

Page  56.  All  characters  on  this  page  enter  E.  Elinor 
retreats. 

Page  59.     Marian  exits  into  hut,  as  Elinor  enters  L. 

Page  62.  Eobin  pauses  before  his  reply,  "  None." 
Marian  reenters  from  hut.  Eobin's  men  enter  from  L 
back  of  hut  and  take  Elinor  off  L. 

Page  63.  The  Foresters  may  come  in  from  all  sides 
on  bugle  call.  They  seat  themselves  or  lie  about.  Some 
stand.  Seat  the  principals  and  study  an  effective  stage 
picture.  Jenny,  Widow  Scarlet,  and  Shadow  should  enter 
with  them.  ISTote  that  Little  John  takes  tlie  character  of 
Greenleaf,  page  64. 

Page  65.  Shadow  may  be  picking  these  flowers  during 
the  scene.  The  lights  should  grow  dimmer  until  the  same 
poetic  atmosphere  is  created  as  in  the  prologue. 

Page  67.  After  Eobin  bids  Marian  good-night  and 
throws  himself  by  the  door  of  the  hut,  a  portion  of  the 
overture  music  may  be  played.  The  fairies  do  not  enter 
formally,  but  in  groups  or  individually,  lightly,  rhythm- 
ically. 

Pages  67-70.  It  is  impossible  to  create  this  entrance 
of  Titania.  The  next  best  thing  is  to  have  her  on  stage 
in  darkness,  and  on  Shadow's  lines  to  throw  a  flash  or 
spot  light  on  her.  She  enters  E.  Oberon  also  enters  R 
and  in  the  same  fashion.  Orchis  simply  comes  out  from 
the  group,  exits  E  as  ■the  fairies  enter  from  all  sides.  A 
few  may  have  entered  as  indicated,  page  6?,  the  rest  at 


198  SHERWOOD 

this  point.  The  music  has  been  playing  softly.  It  may 
now  swell  out,  and  the  lights  may  oome  up  slightly.  Again 
strive  for  a  beautiful  stage  picture. 

Pages  71-74.  The  wailing  is  off  E.  It  blends  softly 
into  the  opening  bars  of  Blondel's  song.  Use  piano  off 
stage.  His  first  stanza  is  heard  off  stage  E;  the  second 
just  as  he  enters  E,  the  orchestra  taking  up  the  music. 
The  fairies  retreat  to  one  side  L.  When  he  passes  through 
them  and  exits  L,  the  fairies  cross  and  mass  themselves 
E,  listening  to  the  song  trail  off  in  the  distance.  Slow 
curtain. 

Act  II — Scene  2  —  Pages  Y7-104 

The  Forest 

The  following  enter  E :  Sheriff  and  his  men.  Will  Scar- 
let,  Alan-a-Dale,   Shadow-of-a-Leaf,  John  and  his   men. 

The  following  enter  L:  Richard,  Widow,  Jenny, 
Marian,  Robin. 

Persons  on  stage  are  Little  John,  Much,  Friar,  Foresters. 

Costume  changes  from  Act  II,  Scene  1:  Little  John, 
Much,  Friar,  Foresters,  Robin. 

Page  77'.  Eobin  enters  L.  His  disguise, —  costume, 
voice,  and  mannerism  should  be  perfect. 

Pages  79-84.  The  action  of  this  scene  needs  thorough 
rehearsal.  The  Sheriff  and  some  of  his  Men  enter  E, 
some  off  stage  holding  Will  Scarlet.  Eobin  and  his  Men 
are  massed  L.  Eobin's  shooting,  of  course,  is  directed 
off  stage,  E,  in  the  direction  of  Will  Scarlet.  On  page 
82  the  Sheriff  runs  off  E  when  one  of  his  men  is  shot, 
and  Will  Scarlet  runs  on  stage  E.  Page  83  is  clear.  Each 
director  must  work  out  his  own  problem  of  a  stage  fight. 
When  the  Knight  enters,  L,  and  forces  his  way  into  the 
fight,  it  must  be  at  a  stage  when  Eobin's  men  seem  to 
be  getting  the  worst  of  it.  He  may  appear  on  horseback, 
jump  to  the  stage,  and  an  attendant  may  take  the  bridle 
of  the  horse.  If  the  horse  will  not  stand  still  during  tlie 
ensuing  scuffle,  he  may  be  led  aside  and  the  sounds  off 


SHERWOOD  199 

stage  indicate  that  Eobin  has  galloped  off  on  it.  The 
Sheriff  and  his  Men  are  driven  off  R.  Eobin  gallops  off 
E.  No  evidences  of  the  fight  should  remain  as  the  rest 
of  the  crowd  follow  E.  A  slight  pause  may  intervene 
before  the  entrance,  L,  of  Jenny,  Marian,  and  Widow. 

Page  85.  The  hut  to  which  Jenny  takes  the  Widow  may 
be  off  stage,  L.     Her  next  lines,  obviously,  are  to  Marian. 

Page  87.  The  sound  is  off  E,  whence  John  and  his 
Man  enter. 

Page  88.  Marian  has  retreated  L.  Jenny  goes  off  L, 
John's  Man,  E.  In  Jenny's  speech  change  "that  same" 
to  "  a." 

Page  89.  John  does  not  see  Jenny  reenter,  and  slip 
to  Marian  a  bow  and  arrow  which  she  takes  by  putting 
her  hand  behind  her. 

Pages  90-94.  This  scene  also  needs  particularly  care- 
ful rehearsal.  John's  man  reenters  E.  Jenny,  page  90, 
steals  back  of  him  and  pins  his  arms  when  he  has  seized 
Marian.  The  four  struggle.  John  does  not  see  Eobin  on 
his  entrance,  E.  Marian  had  raised  her  arm  to  strike, 
but  dropped  it  on  John's  line,  "  Come,  strike ! "  John's 
men  enter  E.  The  two  women  retreat  L  during  the  fight. 
Bugle  calls  off  L.  The  Knight  enters,  L,  at  the  moment 
when  John  is  about  to  stab  Eobin.  Page  92,  John  re- 
treats up  C  as  Foresters  enter  on  all  sides.  John  is  led 
off,  L,  and  is  brought  back,  L,  and  finally  exits  L. 

Page  95.  Foresters  reappear  L,  with  seats  and  with 
table  set  with  viands,  as  indicated.  This  may  already 
be  set  up.     Marian  and  Jenny  enter  L. 

Page  96.  Friar,  Will  Scarlet,  and  Foresters  enter  E. 
Will  Scarlet  exits  L,  and  reenters,  page  98,  L,  with  liis 
mother,  the  Widow.  Shadow  enters  E,  page  98.  The 
stage  picture  should  place  Marian,  the  Knight,  and  Eobin 
up  C,  the  rest  massed  on  either  side. 

Page  103.  Alan  should  come  down  stage  for  his  song, 
during  opening  bars  by  orchestra.  He  should  employ  ges- 
tures to  accentuate  the  song,  should  strum  his  harp,  and 


200  SHERWOOD 

should  include  Shadow  in  his  action  so  that  at  the  end 
of  the  song,  when  Shadow  -approaches  him,  a  tableau  effect 
may  be  secured.     Quick  curtain. 

Act  in  — Pages  107-153 
Garden  of  The  King's  Palace 

The  following  enter  E:  Marian,  Eohin,  Oheron, 
Blondel,  Mashers,  Lords,  Ladies,  John's  men,  FitzwaJter. 

The  following  enter  L:  Elinor,  Puck,  Prince  John, 
Shadow,  Little  John,  Scarlet,  Foresters,  Friar,  Much, 
Mashers,  Lords,  Ladies. 

Costume  changes  from  Act  II,  Scene  2 :  Marian,  Robin, 
Much,  Elinor,  Little  John,  Will  Scarlet,  Lady,  Foresters, 
and  Fairies,  if  doubled. 

Page  107.  John  and  Elinor  enter  up,  L,  and  come  down 
C. 

Page  110.  Marian  and  Eobin  enter  E,  as  John  3nd 
Elinor  go  off  L,  watching  them. 

Page  113,  After  Eobin  exits  down  E,  Marian  stands 
watching  him  a  moment,  then  runs  after  him  calling 
"  Eobin  "  several  times. 

Page  114.  Puck  and  Shadow  enter  down  L.  They 
chase  each  other  a  moment,  then  sit  down  on  the  ground. 

Page  116.  They  hide,  E,  and  Scarlet  and  Little  John 
enter  down  L. 

Page  117.  Shadow  had  come  out  on  previous  page, 
and  Puck  comes  out  when  the  Foresters  exeunt  down  K 

Page  118.  By  this  time  the  lights  should  be  gradually 
lowered,  using  greens  and  blues  to  indicate  the  transition 
from  sunset  to  night.  A  spot  light  may  be  judiciously 
used  on  Oberon's  entrance  down  E. 

Page  121.  The  text  from  here  to  page  127  is  omitted. 
Shadow  and  Oberon  exeunt  up  E.  Shadow  may  go  on 
the  line,  "  Quickly,  come  quickly."  After  their  exeunt, 
the  lanterns  may  be  lowered  from  the  flies  into  view,  page 
128,  as  John  enters  E  and  Elinor  enters  L.  During  this 
scene  the  music  of  the  Gavotte  may  be  played  softly,  the 


SHERWOOD  201 

strings  in  the  orchestra  playing  pizzicato.  The  orchestra 
may  be  off  stage.  It  comes  out  full  for  the  dance,  page 
130.  The  Maskers,  during  this  dialogue,  come  and  go 
on  the  raised  platform  back  of  the  balustrade. 

Page  128.  Marian  and  Fitzwalter  are  pacing  up  E. 
John  goes  to  them,  as  a  Lord  and  Lady  separate  from 
the  others  and  come  down  C.     Elinor  joins  other  Maskers. 

Page  130.  John  and  Marian  come  down  C.  Fitz- 
"walter,  after  his  lines,  joins  the  Maskers.  The  Maskers 
now  take  positions  for  the  Gavotte  as  the  music  comes 
out  full.  Those  who  do  not  dance  may  be  stationed  on 
the  seats  or  back  of  the  balustrade  to  make  an  effective 
grouping. 

The  directions  for  the  Gavotte  follow: 

Four  couj)les  across  stage.  Gentlemen  bring  ladies  to 
places,  and  all  courtesy. 

I.  Face  forward. 

a.  Step  outside  foot,  throw  inside  across  in  front. 

b.  Cliasse,  beginning  inside  (slide,  close,  slide). 
CJiasse  outside,  point  inside  foot  and  hold  one 

count. 

c.  Beginning  inside  foot,  three  walking  steps  and 

point.  Outside  foot  and  three  walking 
steps  and  point  inside  foot.  Eepeat  all  of 
I.     Finish  facing  partners. 

II.  Moving  back  stage. 

a.  Cross  outside,  foot  back,  inside  foot  side,  out- 

side foot  cross  forward  and  point  inside  foot. 
Eepeat  starting  inside  (moving  forward 
stage).     Eepeat  again  right  and  left. 

b.  Lady  walks  with  eight  small  steps  in  a  circle 

around  partner,  and  all  courtesy  (sixteen 
counts),  finisliing  with  back  to  audience  in 
a  row. 

III.  Hands  held  shoulder  height,  beginning  in  a  row 

in  back,  repeat  all  of  11.     Finish,  facing 


302  SHERWOOD 

forward,  and  from  beginning  repeat  all  of 
I,  II,  and  III. 

Page  131.  During  the  dance  Robin  totters  in  down 
R,  unobserved,  and  seats  himself  on  a  seat  just  visible  to 
the  audience.  Arthur's  part  may  be  taken  by  the  player  of 
Much,  who  enters  L,  but  sees  Robin  just  as  the  dance  ceases 
and  the  Maskers  retire  up  stage  and  resume  their  pacing. 
During  this  dialogue  the  music  may  continue  softly  as  on 
page  127,  stopping  on  page  133  on  Robin's  last  word, 
"  Yes." 

Pages  134,  135.  Break  the  Maskers  up  into  quick,  ex- 
cited groups.  Arthur  runs  off  L  and  brings  Marian. 
John  finds  Elinor  and  engages  her  in  conversation. 

Page  136.  Marian  goes  R.  John  appears  in  the  open- 
ing of  the  balustrade  on  the  platform  for  his  announce- 
ment. Elinor  goes  off  L.  Be  sure  to  secure  a  well-bal- 
anced stage  of  the  Maskers,  and  a  quick  readjustment  of 
positions  on  page  137  when  Robin  strikes  John.  The 
music  of  Blondel's  song  must  begin  in  the  orchestra  on 
Robin's  words,  "  Back,  fools !  "  All  listen  intently  to  the 
song  in  the  distance.     The  first  two  stanzas  are  off  stage. 

Page  138.  Robin's  exit  down  R  must  be  made  under 
the  cover  of  the  Maskers'  intent  listening  to  the  song. 

Pages  138,  139.  The  third  stanza  is  sung  as  Blondel 
comes  on  stage.  He  enters  up  R  on  the  platform  back  of 
the  balustrade.  After  the  Maskers  shout  "  Dead !  "  Blon- 
del continues  his  way  and  passes  off  L,  repeating  the  last 
stanza,  the  Maskers  watching  him.  Then  John  speaks. 
The  Maskers  then  run  out  in  all  directions,  mostly  R. 
The  lights  in  the  lanterns  may  be  extinguished  and  the 
stage  be  lighted  for  moonlight  as  before ;  that  is,  the  lights 
are  retained  as  changed  on  page  118. 

Page  143.  The  scene  is  continuous  to  this  page.  When 
the  Maskers  exeunt.  Much  and  Little  John  as  First  and 
Second  Forester,  enter  down  L. 

Page  144.  Marian  appears  down  R,  looking  all  about 
her,  does  not  see  the  men  at  first.     Friar  Tuck  enters  L, 


SHERWOOD  203 

stating  "I've  sent  Will  Scarlet  to  Kirklee  Priory." 
Eobin  enters  up  R  and  drops  on  the  same  seat  as  in  the 
previous  scene. 

Page  146.  Marian  merely  seats  herself  by  his  side. 
The  text  here  is  cut  out  to  page  152.  On  his  last  lines, 
page  146,  Eobin  tries  to  rise,  and,  as  indicated,  page  153, 
"  Flings  up  his  arms  and  falls  fainting."  Scarlet,  the 
Messenger,  enters  down  L. 

Pages  153,  153.  Little  John  takes  the  lines  of  the  For- 
ester. The  Foresters  lead  Robin  ofE  L,  Little  John  con- 
ducting Marian  off  L  after  them.     Quick  curtain. 

The  Epilogue  —  Pages  154-169 
The  Priory  and  the  Forest 

As  stated,  stage  for  epilogue  must  be  set  up  just  as 
for  THE  PKOLOGUE.  Down  stage,  as  indicated  on  diagram, 
set  up  a  plain  interior  to  resemble  a  Priory.  A  bunch 
light  should  stand  L  to  indicate  sunset  through  casement 
window.  On  death  of  Eobin  Hood,  while  orchestra  is 
playing,  drop  curtain  a  few  seconds  while  The  Priory  set 
is  struck,  to  reveal  The  Forest.  The  stage  men  must  move 
it  quickly.  Do  not  turn  on  the  house  lights.  If  there  are 
sufficient  stage  men,  the  stage  lights  can  all  be  thrown 
off,  the  set  may  be  moved  in  the  dark,  and  the  curtain 
need  not  drop.  This  will  produce  a  better  effect,  since  the 
lights  disclosing  the  forest  in  moonlight  may  come  grad- 
ually on.  The  lights  revealing  Fairyland  up  stage  should 
come  up  later.  However,  if  the  curtain  is  lowered,  the 
scene  should  show  Shadow-of-a-Leaf  standing  in  the  gate. 
The  music  should  change  to  his  song.  With  spot  light 
on  him,  he  should  sing  song,  gradually  working  down  stage 
to  bodies  of  Eobin  and  Marian  lying  unmoved,  and  kneel. 
Fairies  enter  gates,  and  circle  about  the  bodies  (see  p. 
164),  exeunt  through  gates.  Oberon  and  Titania  remain 
at  gates,  and  close  them  on  Shadow. 

The  following  enter  E :     Marian,  Shadow. 

The  following  enter  L:     Elinor,  Robin. 


204  SHERWOOD 

The  Fairies  and  Foresters  enter  E  and  L. 

On  stage  are  the  Prioress  and  the  Novice. 

Costume  changes  from  Act  III  are  the  Lady  to  the 
Prioress,  Widow  Scarlet  to  the  Novice,  Elinor,  Marian, 
Lords,  Ladies. 

Pages  154,  155.  A  knock  at  the  door  is  heard,  L,  which 
calls  for  the  Prioress's  "  Who's  that  ?  "  The  Novice  exits 
L,  and  returns  at  onoe.  Of  course  Elinor  enters  L,  and 
the  Novice  retires  L. 

Page  157.  After  the  bell  ceases  tolling,  the  chanting 
of  the  Miserere  to  organ  accompaniment  off  stage  should 
begin,  and  keep  up  until  the  entrance  of  Eobin  Hood.  A 
few  girls  garbed  as  nuns  can  create  the  illusion  of  many 
nuns  passing  by  the  window  on  the  way  to  chapel,  by  pass- 
ing and  repassing.  The  bunch  light  showing  sunset  (am- 
bers and  reds),  may  gradually  change  to  moonlight,  the 
necessary  lighting  for  The  Forest  scene  back  stage,  by 
blending  greens  and  blues,  and  gradually  withdrawing  the 
ambers  and  reds.  The  Novice  exits  L,  the  Prioress,  E. 
Eobin  enters  L,  unattended.  He  has  bow  and  arrows, 
and  bugle,  which  he  drops  to  the  floor  at  sight  of  Elinor. 

Pages  159,  160.  The  Prioress  enters  and  exits  E.  The 
Miserere  may  be  chanted  again  while  Elinor  is  lancing  the 
arm  of  Eobin.  Marian  enters  E.  The  music  continues 
up  to  Eobin's  bugle  calls. 

Page  160.  Elinor  stabs  Marian  with  a  dagger  and  exits 
L. 

Page  161.  Shadow  enters  E  and  exits  E.  If  possible 
let  him  climb  in  and  exit  by  the  casement. 

Page  162.  After  Eobin's  bugle  call,  and  the  faint  ones 
from  the  forest,  and  the  Foresters'  knocks  on  the  two  doors, 
E  and  L,  the  music  ceases,  the  nuns  run  to  and  fro  out- 
side the  easement,  and  the  Foresters,  with  loud  cries,  rush 
in  by  way  of  the  two  doors. 

Page  164.  After  Eobin  shoots  his  arrow  through  the 
icasement,  the  music  to  accompany  Eobin's  death  begins, 
continues  during  change  of  scene,  and  then  merges  into 


SHERWOOD  205 

Shadow's  song.  After  his  exit  through  the  casement  he 
merely  goes  up  stage  and  takes  his  place  at  the  gates  of 
the  fence  until  the  Priory  set  is  removed.  Little  John 
places  Eobin's  body  by  the  side  of  Marian's  body,  and  when 
the  scene  changes  to  The  Forest  scene,  as  indicated,  their 
bodies  are  still  lying  as  placed,  but  now  as  if  transported 
to  the  forest.  Shadow,  still  singing,  comes  down  stage 
to  the  bodies,  and  kneels.  The  Fairies  throng  in  on  all 
sides  up  stage  and  through  the  gates,  and  circle  about  the 
bodies,  extending  their  arms  to  them  as  if  to  take  them 
with  them,  symbolizing,  in  fact,  that  they  do  carry  their 
spirits  off  to  Fairyland.  They  exeunt  through  the  gates 
and  off  E  and  L.  Shadow  finishes  his  song,  and  drops 
prostrate  by  the  bodies. 

Pages  168,  169.  Titania  and  Oberon  appear  at  the 
gates.  Use  spot  light.  They  come  down  stage  for  their 
dialogue,  and  return  to  the  gates  and  close  them  behind 
them  on  Oberon's  last  lines,  page  169.  Meanwhile,  Shadow 
is  still  kneeling  over  the  bodies  of  Robin  and  Marian, 
and  the  Fairies  are  softly  singing  their  song  in  the  dis- 
tance. As  the  gates  close.  Shadow  starts  up,  runs  and 
throws  himself  against  the  gates  as  indicated,  page  169. 
The  music  dies  away.  Oberon  and  Titania  exeunt  R.  The 
spot  light  is  retained  on  Shadow,  softened,  and  the  other 
lights  are  subdued.     Slow  curtain. 


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